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Speaker 1: Thank you everybody for joining us on this well, very

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Speaker 1: very special park Copper episode. We talk about park Opper

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Speaker 1: episodes every week, starting with saying it's special, and usually

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Speaker 1: we're lying just to get it. It's clickbait, but this

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Speaker 1: one is pretty impressive. We we've done it, folks. Yes,

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Speaker 1: he is here, the King himself. I don't even want

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Speaker 1: to spend any more time or gild the lily anymore

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Speaker 1: than we have to because nothing is going to uh.

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Speaker 2: I can't anymore Kenny or take us here.

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Speaker 1: We're so excited, Kenny or Tega, thank you so much

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Speaker 1: for joining us.

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Speaker 2: We literally don't even call them d COM's anymore. We

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Speaker 2: call them or Tegas and we appreciate it.

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Speaker 3: Could come with me anywhere like that. Thank you so much,

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Speaker 3: and for your kindness and and and for having me

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Speaker 3: here today. I'm really thrilled to see you again, sabritak

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Speaker 3: to me you will. We've never met, but I'm well

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Speaker 3: aware of all of the work that you've done with

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Speaker 3: the Channel and so great to be here.

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Speaker 1: Guys, thank you so much for having me now. We

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Speaker 1: like to start back at the beginning because your your career.

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Speaker 1: We were texting last night with one of other producers

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Speaker 1: who said, literally, you have you have seven amazing careers.

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Speaker 2: You have the career of seven people who have been successful.

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Speaker 1: Right, So I'm curious, how did it all start for

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Speaker 1: you in the entertainment industry.

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Speaker 3: In the whole, the whole entertainment like you. I was

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Speaker 3: a kid, you know, I was. I was twelve years

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Speaker 3: old and I was in professional children's theater. My aunt

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Speaker 3: took me to an audition and we stood outside for

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Speaker 3: hours and I went inside and I didn't know what

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Speaker 3: an audition was. And I'd never read sides and I

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Speaker 3: never auditioned for anything. I never had been in a play.

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Speaker 3: And and it was Oliver Twist, I remember, and I

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Speaker 3: was reading in a plice, I want some more, and

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Speaker 3: they were like, read this, and then they put the

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Speaker 3: little the Bad Wolf in front of me, and I

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Speaker 3: read the Wolf. And then they put Peter in front

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Speaker 3: of me, and then they were like, who are you

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Speaker 3: here with? And I was like, my mom, my aunt,

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Speaker 3: my aunt Shirley, and they and they said where is she?

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Speaker 3: I said, you know, right out outside, and they brought

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Speaker 3: her in and I saw her shaking and starting to

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Speaker 3: cry and getting so excited, and I thought, well, this

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Speaker 3: is either terrible or wonderful. And then they brought me

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Speaker 3: over to the table and they said, we'd like to

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Speaker 3: welcome you to be a part of our children's theater company.

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Speaker 3: And from that moment forward, I just never left I

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Speaker 3: you know, I remember my dad used to take me

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Speaker 3: to the train station in Redwood City, California after school,

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Speaker 3: and I would drive take a train to San Francisco

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Speaker 3: to do theater and they'd be waiting for me at

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Speaker 3: the train station. Then they'd bring me back to the

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Speaker 3: train station and i'd catch the last train. Dad would

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Speaker 3: be waiting for me. We'd go home, and then I'd

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Speaker 3: get up and go to school in the morning. And

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Speaker 3: I was working in theater. That was me and Sabrina.

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Speaker 3: That was it. That was the beginning of my life,

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Speaker 3: working in musical theater and in straight plays. That was me.

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Speaker 1: That was my dad would take me to the bus

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Speaker 1: station in Farmington, Connecticut. I would get on the bus

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Speaker 1: for three hours down, go to New York City, go

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Speaker 1: to my auditions.

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Speaker 3: Do it I had?

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Speaker 1: Did you come back and go to school the next

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Speaker 1: day and they were waiting for me on the buck

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Speaker 1: same thing. Wow, that's amazing.

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Speaker 3: My big one, My big one, was. I was working

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Speaker 3: at the Circle Star Theater in San Carlos, California, which

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Speaker 3: was an incredible repertory theater. Every play, every musical that

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Speaker 3: was happening in the theater came there through there, and

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Speaker 3: I mean Judy Garland performed there, right, So there was

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Speaker 3: I was working as an apprentice for fifteen dollars a week.

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Speaker 3: I was fourteen, and someone said, are you auditioning for Oliver?

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Speaker 3: And I was like what, and they were like, yeah,

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Speaker 3: the cast of Oliver's coming in from London and they

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Speaker 3: need a boy and they're having an audition and there

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Speaker 3: was a like a message on the bill bulletin board,

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Speaker 3: and so I brought it up to my family and

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Speaker 3: they were like, you should do it. So I did it,

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Speaker 3: and I got cast and I was on stage with

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Speaker 3: the glorious Georgia Brown and Robin Ramsey and the incredible

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Speaker 3: company from the West End of Oliver, the original Oliver.

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Speaker 3: And that was it. That was the moment that just

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Speaker 3: being on stage with that level of talent woke me

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Speaker 3: up to how far I needed to still go in

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Speaker 3: order to sustain and really belong as a permanent partner,

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Speaker 3: you know, in the industry.

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Speaker 4: But ignited that design.

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Speaker 3: Boy, you got a long way to go, but that

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Speaker 3: they've invited you in this is That was the reason

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Speaker 3: for me, was you know that to realize to really

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Speaker 3: become an important part of the theater, that I had

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Speaker 3: more studying to do more.

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Speaker 5: Wow, were you already studying dancing at that point? Did dance?

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Speaker 3: I was like you, I studied dance when I was five.

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Speaker 5: Five, Okay, yeah, so you had already had that that

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Speaker 5: dance background.

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Speaker 3: Yeah, and love music, love music and dancing. All because

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Speaker 3: of my parents. You know. They they were World War

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Speaker 3: two jitterbug champions, and they did all the Latin dances,

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Speaker 3: the roomba and mambo, and they would go to the

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Speaker 3: once a month they would have a big dance at

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Speaker 3: the Veterans Memorial Building in Redwood City, And since dad,

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Speaker 3: you know, was in the army, they went there and

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Speaker 3: they couldn't afford a babysitter. So I would stand there

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Speaker 3: on the sidelines of the ballroom floor and watch them dance. Gosh,

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Speaker 3: and I fell in love with it, and I thought,

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Speaker 3: that's it, that's everything.

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Speaker 5: Yeah, I just I can't get the images of those

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Speaker 5: women's like ballroom dresses that they wore, especially back in

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Speaker 5: the day, they like weighed like tons and tons with

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Speaker 5: so much material, but they would just be so elegant

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Speaker 5: across the floor.

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Speaker 4: I love seeing videos of that.

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Speaker 3: You know. Sometimes they say you're born, you're born with something,

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Speaker 3: you know, and and I do believe that in some capacity.

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Speaker 3: But I also have to say that I was so fortunate.

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Speaker 3: I was inspired. Yeah, I was just these little miracles

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Speaker 3: that were popping up all around me as a little boy.

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Speaker 3: I was aware enough to pay attention and that they

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Speaker 3: moved me and excited me and inspired me to want

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Speaker 3: to live in that place of music and dance and

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Speaker 3: and and what that could do for people. I mean,

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Speaker 3: I remember what it did for me watching them. It

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Speaker 3: excited me. I just felt like I was floating watching them,

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Speaker 3: you know, when I thought, oh, one day, maybe I

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Speaker 3: can do that for someone.

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Speaker 4: Well, I think you have. There was a question one

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Speaker 4: thousand times, so what was that next?

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Speaker 5: So you now you're on stage, you're you're working as

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Speaker 5: a child actor in the theater world, what was kind

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Speaker 5: of that next chat like door opening for you within

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Speaker 5: your career?

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Speaker 4: What came next?

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Speaker 3: At that I started my own Civic Light opera company

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Speaker 3: because my high school didn't have enough boys in it

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Speaker 3: to be able to do the kind of musicals that

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Speaker 3: I wanted to do. So my own and I started

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Speaker 3: the Redwood City Civic Light Opera. I was seventeen years old,

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Speaker 3: and we had kids from every school in the Bay

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Speaker 3: area and we put on Oliver and the Roar of

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Speaker 3: the grease paint and the sound of music and maime

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Speaker 3: and all kinds of musicals with a full orchestra and

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Speaker 3: a full cast and full backstage. I was directing and choreographed.

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Speaker 1: Oh my god, So at seventeen, you're already directing.

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Speaker 2: So that was my question is did you think you

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Speaker 2: were going.

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Speaker 3: To be in directing in my backyard hanging a sheet

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Speaker 3: on the clothes when I was a little boy with

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Speaker 3: all the neighborhood kids. So yeah. And also I was

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Speaker 3: in high school and my theater director, Ray Doherty, was

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Speaker 3: such a mentor and I loved him so much, and

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Speaker 3: I loved watching him, you know, put us into the

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Speaker 3: work and how he managed to stage and inspire and

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Speaker 3: motivate but not telling you what you know. And so

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Speaker 3: I I thought I can do that, And so that

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Speaker 3: was my first time doing it. Then I went into

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Speaker 3: the musical hair I got cast in the musical Hair

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Speaker 3: in San Francisco, and that then took me into the

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Speaker 3: national touring company of Hair. And then I decided, you know,

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Speaker 3: I was going to get ready to do Jesus Christ Superstar.

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Speaker 3: And I met a rock and roll band that said,

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Speaker 3: come with us and be with us and help us,

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Speaker 3: and we need someone that understands staging and theater. And

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Speaker 3: they were they called the Tubes, and they they were wait, wait, yeah,

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Speaker 3: you know about me.

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Speaker 2: You you went on tour with the Tubes.

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Speaker 3: I was in the Tubes for over ten years. Yes,

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Speaker 3: thank you for knowing who they are, A and M

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Speaker 3: and Capitol recording artists, the Tubes. They were pioneers of

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Speaker 3: rock and roll in the seventies and eighties. And I

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Speaker 3: was the artistic director choreographer of the band. And then

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Speaker 3: I performed with them, you did, and that really put

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Speaker 3: me into a different chair, a different seat, different shoes.

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Speaker 3: I was now the observer. I was concept on the

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Speaker 3: conceptual side and on the staging side, and less interested

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Speaker 3: in the form in side. And and when I came

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Speaker 3: out of the Tubes, well, everyone that saw the Tubes,

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Speaker 3: you know, from Bowie to the Kiss, Madonnas, so many

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Speaker 3: Danny Elfman and Only Go Boy and they all, you know,

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Speaker 3: were inviting me to come and give them some of

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Speaker 3: that magic. And so I was now the choreographer of

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Speaker 3: rock and roll in a popular, you know, live entertainment

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Speaker 3: and and that's where I got That's where I really

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Speaker 3: got my mind.

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Speaker 5: Was anyone really doing that before you were doing it?

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Speaker 4: I'm like that you were.

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Speaker 3: Like bringing choreography, yes, and and theatrical staging and theater right,

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Speaker 3: and bring it into rock and roll in popular, you know,

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Speaker 3: live performance. And no, no one was Tony Basel. Probably

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Speaker 3: Tony Basel, you know, was one of my mentors, by

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Speaker 3: the way, and who I owe so much to. I mean,

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Speaker 3: my god, did that woman, you know? But I didn't

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Speaker 3: realize that we were both doing at the same time

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Speaker 3: until much later. Yes, she was. She was doing it

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Speaker 3: with Tina with Bow.

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Speaker 5: You guys are both pioneering that making bands. Understand, you've

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Speaker 5: got to learn how to not just play your instruments.

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Speaker 4: But I love it still.

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Speaker 2: I still tick it over the tube.

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Speaker 1: You got to get into the tubes, which will take

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Speaker 1: you to the romantics, which will take you to the replacements,

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Speaker 1: which will take there's we'll get fits It's really truly

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Speaker 1: a magical time.

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Speaker 6: And the Jerry Bomb was a huge I worked with

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Speaker 6: them during the Runaway, I mean, I was working with

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Speaker 6: Gladys Knight and the Pips.

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Speaker 3: I mean, so that's Share.

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Speaker 4: Yeah, what took you into Michael.

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Speaker 3: Vegas, Big Giant Productions Las Vegas with Schaer and Diana

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Speaker 3: Ross and and the Pointer sisters, and all of that

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Speaker 3: came from and only happened because of of what those

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Speaker 3: artists saw in the Tubes. Yeah, they would come because

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Speaker 3: every everyone wanted to see what the Tubes were doing. Yeah,

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Speaker 3: there were lines around the block. We were selling out

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Speaker 3: everywhere we went. And then Share, you know, would be

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Speaker 3: knocking on my dressing room door, going I want to

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Speaker 3: work with you, oh Basle. Tony Basel came back at

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Speaker 3: the at the Roxy in Los Angeles, California, was banging

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Speaker 3: on my door. I was in a dance belt and

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Speaker 3: with eyeliner dripping down my face, and it was like

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Speaker 3: she pushed herself into my dressing room and was like,

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Speaker 3: I'm I want to work with you, you know, And

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Speaker 3: that was the beginning of my relationship for all of

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Speaker 3: these decades with Tony Basil. Yeah, the Tubes, thank you

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Speaker 3: for thank you for honoring Oh he came in my

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Speaker 3: life because those guys were everything to me.

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Speaker 1: That's I have two older brothers and you get your

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Speaker 1: music from the older brothers, and that go there. Then

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Speaker 1: going into industrial, then going into kind of the seventies

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Speaker 1: punk scene was really what with everything, and then the

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Speaker 1: whole CBGB scene with the New York Dolls and television

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Speaker 1: and the Ramones, I.

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Speaker 2: Mean, Blondie. This was all some of the most important

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Speaker 2: times in music history.

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Speaker 3: We were the first bear to bring video and media

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Speaker 3: into I mean Bill Graham, you know, had light shows

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Speaker 3: right with dripping paint on a screen behind rock and

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Speaker 3: roll bands like The Grateful Dead and Jannis Stoplin and

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Speaker 3: the Big Brother and the Holding Company. But the Tubes

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Speaker 3: actually brought video, you know, and it did. It weighed

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Speaker 3: hundreds and hundreds of pounds and you know, but we

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Speaker 3: trucked in video and we had television sets on our

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Speaker 3: heads with you know video. Yeah, and we were really

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Speaker 3: pushing it and we had Hell's Angels on stage, ballet

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Speaker 3: companies on stage. We were fearless. I mean, we went

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Speaker 3: to London for the first time. This is a great moment.

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Speaker 3: You know. We made fun of everything. We poked fun

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Speaker 3: of everything. We were dangerous, we were scary, we were controversial,

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Speaker 3: and the promoter said, look, we love who you are.

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Speaker 3: We're getting ready to do a big run at the

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Speaker 3: Hammersmith Odeon in London, and they said, just leave the

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Speaker 3: monarchy out of it. And Michael, the keyboard player and

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Speaker 3: the production designer, along with Prairie Prince, we all we

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Speaker 3: looked at each other and as soon as that guy disappeared,

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Speaker 3: we were in the streets looking for someone that resembled

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Speaker 3: Queen Elizabeth Stage. That's great.

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Speaker 5: I mean I feel like a lot of that fearlessness

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Speaker 5: and stuff definitely continue to I mean we're talking about

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Speaker 5: working with Madonna, you're talking about working with Michael Jackson.

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Speaker 5: I mean that fearlessness that I feel knowing when I've

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Speaker 5: worked with you, that you give to artists.

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Speaker 4: You give them that that.

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Speaker 5: Like strength and that power to like really believe in

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Speaker 5: what they're doing. What was it like when you were

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Speaker 5: working with then you go on to I mean with

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Speaker 5: Madonna and Michael Jackson at the not like the start

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Speaker 5: of their career, the boat Peace.

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Speaker 3: Yeah, Well, I worked with Madonna at the beginning of

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Speaker 3: her career, and I will say you know that she

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Speaker 3: was extraordinary. Yeah, you know, I worked with her on

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Speaker 3: the Material Girl music video and she invited me to

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Speaker 3: be able to go on beyond that. But it did

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Speaker 3: work out for us. But I have never lost my

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Speaker 3: respect and appreciation for I mean, she came at it

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Speaker 3: with like like such gusto and determination and dedication, and

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Speaker 3: I mean, and I'm not exaggerating when I'm saying, like

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Speaker 3: Mary Lambert directed that I choreographed it the Material Gold video,

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Speaker 3: and I mean Madonna was there before everybody, and when

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Speaker 3: everything was over and everybody was leaving, she was like,

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Speaker 3: can we just run through this one more time? And

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Speaker 3: you know, and and then it was just the two

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Speaker 3: of us and she was like, do you mind dropping

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Speaker 3: me off at the house? And you know that she

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Speaker 3: really worked to gain what she came to own, and

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Speaker 3: I still to this. I saw her in concert last year,

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Speaker 3: mind blowing, mind blowing coming out of the hospital and

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Speaker 3: standing on a stage and performing at the capacity that

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Speaker 3: she did. It was so awesome. Michael, you know already

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Speaker 3: was Michael. And that was just I got to call

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Speaker 3: at my house. My niece picked up the phone and

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Speaker 3: she screamed across the house. Some idiots on the phone

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Speaker 3: saying he's Michael Jackson and I was like, oh. I

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Speaker 3: picked up the phone and I was like hello. I

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Speaker 3: was like hello, this is Michael. And I was like,

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Speaker 3: Michael Jackson, Yes, And I was like, Michael, I so apologize.

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Speaker 3: He goes, that's okay. Nobody ever thinks it's.

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Speaker 2: Me, of course, because you I think I was.

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Speaker 3: I was. I was in a two year prep to

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Speaker 3: get ready to do the Olympics in Atlanta. So I

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Speaker 3: was the biggest, hugest job of my life, knowing that

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Speaker 3: we were going to have tens of thousands of performers

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Speaker 3: and just this massive opening and closing ceremonies that I

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Speaker 3: was going to choreograph. And Michael asked me to do

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Speaker 3: his world tour and I said, Michael, I'm so sorry.

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Speaker 3: I can't believe I'm going to have to say no,

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Speaker 3: but I'm doing the Olympics. And he said that's okay,

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Speaker 3: you can do both, and that okay. That along with

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Speaker 3: the voices of a number of other people that came

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Speaker 3: before and after that, you know, have have been the

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Speaker 3: ones that have challenged me and and where I've had to,

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Speaker 3: you know, pull out my big boy pants and say yeah,

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Speaker 3: I can do both. Yeah, and I'm not going to

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Speaker 3: throw this incredible opportunity away. And then twenty five years later,

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Speaker 3: you know, I got to be there in the end

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Speaker 3: with Michael, which yeah, and.

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Speaker 5: He's a workhorse too, right, I mean hours and hours

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Speaker 5: and details and details.

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Speaker 3: Had a portable dance studio on tour. You know. He

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Speaker 3: had a road case that was like six feet high

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Speaker 3: and when you opened the road case, it folded open

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Speaker 3: and there was a mirror and a dance floor that

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Speaker 3: pulled down and he would stand in front of that

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Speaker 3: and just repeat movement over and over and over until

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Speaker 3: he perfected it. He never underestimated the value of rehearsal

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Speaker 3: and putting time into an idea or a move for

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Speaker 3: a song. He was the workhorse. Yeah, he was. He

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Speaker 3: strived for greatness.

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Speaker 7: Oh my gosh, Okay, I have to ask, and I

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Speaker 7: hate doing this, but I always put people on the

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Speaker 7: spot and.

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Speaker 4: I hate doing this.

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Speaker 3: I love it other than.

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Speaker 2: Sabrina, because we all know that's the answer.

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Speaker 3: I love Sabrina. Sabrina. I'm gonna say right now, I'm

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Speaker 3: gonna hold your thies. Sabrina was the Golden girl on

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Speaker 3: the set of Cheetah girls too in Spain, and it

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Speaker 3: was a really difficult experience doing a movie there. I'd

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Speaker 3: never done one there before, none of us had ever

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Speaker 3: been therefore, working professionally, Sabrina every day showed up with

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Speaker 3: this glorious attitude, with this incredible positive energy, with a

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Speaker 3: readiness to do the work. It shows. Look at the

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Speaker 3: movie if you haven't watched it again. She was so present.

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Speaker 3: She surrendered her totality to everything that we did. I

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Speaker 3: remember those days working alongside of her with such appreciation

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Speaker 3: and love you so to this day.

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Speaker 4: I love you too.

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Speaker 3: Basically, you got me through that experience.

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Speaker 5: I was selling Will about just working in a different country.

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Speaker 5: We would be just getting going and all of a

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Speaker 5: sudden they'd be like, all right, it's time to shut

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Speaker 5: down and break and we're like, everyone needs to take

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Speaker 5: their smoke break there the other wine. Maybe yeah, it's

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Speaker 5: like ten thirty, and we're like, what she got started?

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Speaker 4: All right, I guess, And we're all like just sitting there.

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Speaker 1: Going, okay, all right, who's the best performer you've ever

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Speaker 1: seen in your life?

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Speaker 3: The best performer that I've ever seen ever in my life? Okay,

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Speaker 3: can I work? Can I don't? I'm not going to

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Speaker 3: say one, because they're all different, but they're exceeded at

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Speaker 3: the highest level of what they did. Judy Garland Yeah,

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Speaker 3: Stress End, Yeah, Oh my god, Stevie Wonder, MJ Share.

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Speaker 4: Yeah, she's still amazing. On Doors.

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Speaker 3: There's so many of you guys.

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Speaker 2: Didn't you work with Gene Kelly.

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Speaker 3: Gean Kelly? Yeah, I worked with Gen Kelly. I was.

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Speaker 3: I directed and choreographed his very last dance sequence in

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Speaker 3: a movie. I don't want to throw I've got to

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Speaker 3: say though, I am such a Gaga fan. Yeah, Yes,

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Speaker 3: Lady Gaga is just so amazing. She's like like like

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Speaker 3: og She's like the old school. She's like the old school.

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Speaker 3: She comes at it with a with a no how

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Speaker 3: and an appreciation and a respect for the work. She

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Speaker 3: spills it. She doesn't leave anything. When you leave from

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Speaker 3: a Lady Gaga performance, you know she gave you everything.

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Speaker 5: I gotta put that on my list.

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Speaker 4: I haven't seen her, Rols does that.

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Speaker 3: Who I just saw many, many times, four times, and

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Speaker 3: who I'm friends with is Nicole Scherzinger, who just won

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Speaker 3: the Tony Award for playing in the musical Sunset Boulevard

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Speaker 3: Norma Desmond. She's another one. But anyway, there are lots

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Speaker 3: lots fee way built from the tubes. Was one of those.

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Speaker 1: Yeah, talk about this there. So we have to get

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Speaker 1: into the into the world of Disney at some point.

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Speaker 1: But before we do, let's just get into the world

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Speaker 1: of musical movies because we can't sit here and talk

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Speaker 1: with you that talking about Newsy's, which for an entire

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Speaker 1: generation of people is a hugely important film.

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Speaker 5: Yes, was that your first introduction to Disney?

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Speaker 3: That was my first? No, But because I had choreographed

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Speaker 3: for Disney and ABC, I directed for ABC, okay, but

393
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Speaker 3: it was my first motion picture period, and it was

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Speaker 3: with Jeffrey Katzenberg who brought me in. I was doing

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Speaker 3: a television series I think for ABC called hull Hi

396
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Speaker 3: if I'm not mistaken, which was it? Did it? It

397
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Speaker 3: only ran for one season, but it was so far

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Speaker 3: ahead of the game. Oh my gosh, I'd love to

399
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Speaker 3: pull that back out again, you know, and and to

400
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Speaker 3: come back at it again. But anyway, I got a

401
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Speaker 3: call from the president of the Walt Disney Movies, Jeffrey Katzenberg,

402
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Speaker 3: and he called me into his office and I was like,

403
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Speaker 3: you know, unsure of what that was about. But I went,

404
00:21:02,240 --> 00:21:06,080
Speaker 3: and he said, you know, everybody thinks that the musical

405
00:21:06,160 --> 00:21:08,840
Speaker 3: is dead, and he said, I'd like to show them

406
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Speaker 3: that it isn't. Would you like to join me. I

407
00:21:11,040 --> 00:21:14,720
Speaker 3: want to put musicals back on their feet. And I

408
00:21:14,760 --> 00:21:17,879
Speaker 3: was like, have you read my resume? Honestly? I was like,

409
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Speaker 3: you know, you know who I am? And he laughed

410
00:21:20,280 --> 00:21:22,520
Speaker 3: and he goes, of course I do, man, And he

411
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Speaker 3: was like, I've got one that I want to do,

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Speaker 3: and if you do that one, then I'll let you

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Speaker 3: choose the next one we do, and his was Newsy's

414
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Speaker 3: and I took it home and read it, and I

415
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Speaker 3: was like, I want to hit this. This is like Oliver. Yeah,

416
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Speaker 3: you know my favorite musical of all time. This is

417
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Speaker 3: like Oliver. You know, this is the the you know,

418
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Speaker 3: the the Newsboys Strike of the you know, early nineteen hundreds,

419
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Speaker 3: that Children's Crusade. My god, yes, I'll do this. And

420
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Speaker 3: then when it came to the second movie, I heard

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Speaker 3: that Bett wanted to do a movie that her daughter

422
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Speaker 3: could go see, and that she wanted to make a

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Speaker 3: movie that her kid could go watch, and that she

424
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Speaker 3: really liked this script called hocus Pocus, and I said,

425
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Speaker 3: let me read it. Let me read it, because I

426
00:22:04,320 --> 00:22:06,520
Speaker 3: had just done The Rose with her and Tony Basil

427
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Speaker 3: that she got nominated for an Oscar for and and

428
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Speaker 3: and then I picked hocus Pocus as my second.

429
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Speaker 5: Phil which another an.

430
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Speaker 3: Just the most wonderful memories of Newsy's treasured for always

431
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Speaker 3: working with uh, with Christian Bale and and and just

432
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Speaker 3: that entire company and Margaret you know, Robert Duvall uh

433
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Speaker 3: uh you know. Uh, it was a time. You know

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Speaker 3: those children, those kids, you know, Nony and Bob, the writers. Uh.

435
00:22:48,400 --> 00:22:51,520
Speaker 3: Every day, every day it was like pinch myself. No,

436
00:22:51,720 --> 00:22:54,240
Speaker 3: don't don't wake me from this dream. I don't want

437
00:22:54,240 --> 00:22:55,840
Speaker 3: to wake up. If this is not real, don't wake

438
00:22:55,880 --> 00:22:59,800
Speaker 3: me up. I just loved every Andrew Laslow, my director

439
00:22:59,840 --> 00:23:02,800
Speaker 3: for photography, who taught me so much, even though I

440
00:23:02,960 --> 00:23:05,800
Speaker 3: choreographed a lot before that. You know, now I was

441
00:23:05,920 --> 00:23:09,760
Speaker 3: the director, you know, and back then the monitors, you guys,

442
00:23:09,800 --> 00:23:13,880
Speaker 3: were these little tiny boxes, so you couldn't see dance

443
00:23:14,000 --> 00:23:16,639
Speaker 3: numbers in those little tiny boxes. So I would stand

444
00:23:16,720 --> 00:23:19,879
Speaker 3: right next to the camera, or I'd ride on the

445
00:23:19,960 --> 00:23:23,840
Speaker 3: crane with the camera operator. So it was a real

446
00:23:24,000 --> 00:23:26,919
Speaker 3: experience back then, you know, you weren't sitting in a

447
00:23:27,000 --> 00:23:30,120
Speaker 3: chair behind a bunch of monitors saying action, you were

448
00:23:30,119 --> 00:23:32,840
Speaker 3: really up there, you know, invested and inside of it,

449
00:23:33,280 --> 00:23:36,560
Speaker 3: and whispering to the actors, you know, and yeah it

450
00:23:36,560 --> 00:23:38,120
Speaker 3: was pretty great. Wow, that's pretty cool.

451
00:23:38,119 --> 00:23:40,000
Speaker 1: Well, that's the one thing I've really noticed about your

452
00:23:40,000 --> 00:23:44,399
Speaker 1: films is that there's a something that you use that

453
00:23:44,640 --> 00:23:48,200
Speaker 1: it didn't seem to be in many of the earlier musicals.

454
00:23:48,359 --> 00:23:51,199
Speaker 1: The earlier musicals are like wonderful singing, wonderful dancing. You

455
00:23:51,200 --> 00:23:52,800
Speaker 1: put the camera on, you let the dancers kind of

456
00:23:52,840 --> 00:23:55,679
Speaker 1: do their thing. Great, totally get that. Then your films

457
00:23:55,680 --> 00:23:59,679
Speaker 1: come out and you're adding levels to the dances that

458
00:23:59,720 --> 00:24:01,920
Speaker 1: I've ever seen before. When you're talking about high school

459
00:24:01,960 --> 00:24:04,160
Speaker 1: musical and there's people dancing on the balcony while people

460
00:24:04,200 --> 00:24:04,960
Speaker 1: are dancing below.

461
00:24:05,000 --> 00:24:07,080
Speaker 2: There's and I'm curious where that came from.

462
00:24:07,119 --> 00:24:09,960
Speaker 1: Where the idea of I want to see multiple things

463
00:24:09,960 --> 00:24:12,879
Speaker 1: happening on multiple levels at multiple times in one single dance.

464
00:24:13,800 --> 00:24:16,720
Speaker 3: You know, your ideas grow, you know, you read a

465
00:24:16,720 --> 00:24:20,280
Speaker 3: script and then and then you these ideas come to

466
00:24:20,320 --> 00:24:23,920
Speaker 3: you right as a director and choreographer, you know, and

467
00:24:23,960 --> 00:24:27,120
Speaker 3: then you cast people and they start reading that and

468
00:24:27,160 --> 00:24:31,399
Speaker 3: then you get more ideas. And especially if you cast

469
00:24:31,640 --> 00:24:35,040
Speaker 3: partners that are actors and singers and dancers. They don't

470
00:24:35,040 --> 00:24:38,080
Speaker 3: always have to be singers and dancers. Zach wasn't, Christian wasn't,

471
00:24:38,680 --> 00:24:40,720
Speaker 3: you know. But they have to have something there that

472
00:24:40,880 --> 00:24:43,200
Speaker 3: says to you, this is going to be fun. They're

473
00:24:43,240 --> 00:24:45,960
Speaker 3: going to bring something to the party. And then you

474
00:24:46,000 --> 00:24:49,080
Speaker 3: bring in your creative crew, and your production designer shows

475
00:24:49,119 --> 00:24:51,760
Speaker 3: you something, and then you go on location and you

476
00:24:51,800 --> 00:24:55,040
Speaker 3: see a cafeteria and you go, oh, we've got three

477
00:24:55,320 --> 00:24:58,320
Speaker 3: different stories here. I want to feel it all up.

478
00:24:58,480 --> 00:25:00,320
Speaker 3: I don't want to just do the number down like

479
00:25:00,359 --> 00:25:03,280
Speaker 3: I was imagining a month ago. Why not take this

480
00:25:03,400 --> 00:25:06,680
Speaker 3: and and and bring it? You know? So I think

481
00:25:06,800 --> 00:25:10,200
Speaker 3: those things for me happened during the process of creation.

482
00:25:10,960 --> 00:25:13,600
Speaker 3: They're not all there in the very very beginning. Some

483
00:25:13,720 --> 00:25:16,040
Speaker 3: things are, you know, and then you just sort of

484
00:25:16,080 --> 00:25:17,760
Speaker 3: hold on to them and ride with them until you

485
00:25:17,760 --> 00:25:19,720
Speaker 3: get a chance to do them, and other things kind

486
00:25:19,720 --> 00:25:23,200
Speaker 3: of develop and grow and and come from the wonderful

487
00:25:23,640 --> 00:25:27,480
Speaker 3: team that you've assembled and that you know, Michael Jackson

488
00:25:27,560 --> 00:25:30,359
Speaker 3: used to say, you know, it doesn't matter whose idea

489
00:25:30,800 --> 00:25:32,879
Speaker 3: it is if it sticks on the wall and it's

490
00:25:32,920 --> 00:25:36,440
Speaker 3: still there tomorrow that goes in. We don't need to

491
00:25:36,480 --> 00:25:39,440
Speaker 3: put a name next to it. Wow. And and that's

492
00:25:39,520 --> 00:25:42,119
Speaker 3: what it's like, you know. And so I credit everyone,

493
00:25:43,000 --> 00:25:46,320
Speaker 3: you know, everyone on everything that I've ever done in

494
00:25:46,359 --> 00:25:50,199
Speaker 3: the movies and in television that there's nothing there that

495
00:25:50,240 --> 00:25:53,640
Speaker 3: doesn't have the stamp of many, many people that have contributed.

496
00:25:53,920 --> 00:25:57,720
Speaker 5: I just had a memory in Barcelona. You're on Las

497
00:25:57,840 --> 00:26:01,479
Speaker 5: Rumbless when we're out there, and he looked up and

498
00:26:01,520 --> 00:26:04,840
Speaker 5: there was these like little balconies and you went to

499
00:26:04,840 --> 00:26:06,240
Speaker 5: Devro and said, hey, do you think we could get

500
00:26:06,240 --> 00:26:06,879
Speaker 5: on one of them?

501
00:26:07,160 --> 00:26:08,320
Speaker 4: Do you think we could get up there?

502
00:26:08,520 --> 00:26:11,280
Speaker 5: And there was like it was like businesses and cafes

503
00:26:11,400 --> 00:26:13,119
Speaker 5: and then apartments.

504
00:26:12,640 --> 00:26:14,480
Speaker 4: Up there, and he did. He got some of our

505
00:26:14,560 --> 00:26:17,679
Speaker 4: dancers out and you guys, you had them up there,

506
00:26:17,720 --> 00:26:20,239
Speaker 4: and I remember going like that. It was like you

507
00:26:20,320 --> 00:26:20,679
Speaker 4: saw it.

508
00:26:21,560 --> 00:26:23,880
Speaker 5: And those were the great things that we were able

509
00:26:23,920 --> 00:26:26,280
Speaker 5: to do in Barcelona that you would normally think you

510
00:26:26,280 --> 00:26:27,120
Speaker 5: wouldn't be able.

511
00:26:26,960 --> 00:26:29,600
Speaker 4: To, just like, hey, can we borrow your apartment right now?

512
00:26:29,680 --> 00:26:32,600
Speaker 3: For we grawed with what we had. Yeah, you know,

513
00:26:32,640 --> 00:26:34,480
Speaker 3: we didn't know what we were going to be able

514
00:26:34,480 --> 00:26:37,040
Speaker 3: to do until we got there and found it. You know,

515
00:26:37,160 --> 00:26:40,800
Speaker 3: we found these places and it wasn't easy. The search

516
00:26:40,960 --> 00:26:44,080
Speaker 3: was continuing even when we were already shooting. We didn't

517
00:26:44,119 --> 00:26:47,119
Speaker 3: have all our locations locked in, you know, and so

518
00:26:47,320 --> 00:26:49,560
Speaker 3: we was like, oh, we have this, Okay, let's change

519
00:26:49,560 --> 00:26:52,359
Speaker 3: the choreography. By the way, we're here for now. I

520
00:26:52,400 --> 00:26:54,400
Speaker 3: just don't want to forget to say hello to all

521
00:26:54,400 --> 00:26:58,800
Speaker 3: the girls. Yes, you know Raven and Adrian and yeah Killey,

522
00:26:59,320 --> 00:27:04,000
Speaker 3: but also for you, greetings and love sent from Golan

523
00:27:04,080 --> 00:27:04,440
Speaker 3: and Peter.

524
00:27:04,840 --> 00:27:06,000
Speaker 4: Oh yeah, did you see that.

525
00:27:06,240 --> 00:27:07,600
Speaker 3: I've seen them many times.

526
00:27:08,680 --> 00:27:11,240
Speaker 5: I've recasted Peter with Will.

527
00:27:11,280 --> 00:27:13,359
Speaker 4: He wants to come back and I'm going to.

528
00:27:13,359 --> 00:27:16,920
Speaker 3: Be you know. You know, Peter has had an incredible

529
00:27:16,960 --> 00:27:20,720
Speaker 3: career as an actor. He's really done a lot, you know,

530
00:27:21,720 --> 00:27:26,160
Speaker 3: all all the streamers, and and Golan is still he's

531
00:27:26,200 --> 00:27:30,640
Speaker 3: still dancing, dancing and singing, recording, putting records out. Yeah,

532
00:27:31,240 --> 00:27:31,880
Speaker 3: he's a dad.

533
00:27:32,880 --> 00:27:33,639
Speaker 4: I love that.

534
00:27:34,720 --> 00:27:36,880
Speaker 3: Any they wanted me to say hello, Yes.

535
00:27:37,080 --> 00:27:37,520
Speaker 4: Thank you.

536
00:27:37,640 --> 00:27:38,480
Speaker 2: I'm so cool.

537
00:27:38,520 --> 00:27:42,560
Speaker 5: They were both amazing. Golan was actually really great to

538
00:27:43,240 --> 00:27:46,960
Speaker 5: really kind of help us find our way around Barcelona too.

539
00:27:47,720 --> 00:27:49,800
Speaker 3: Didn't hurt them. It came out of a ballet company.

540
00:27:49,960 --> 00:27:51,480
Speaker 2: Yes, yeah, I mean you could tell that.

541
00:27:51,760 --> 00:27:53,879
Speaker 5: But the best part was he invited us all to

542
00:27:53,960 --> 00:27:56,000
Speaker 5: their company and it was a very contemporary. I mean

543
00:27:56,000 --> 00:27:59,080
Speaker 5: they started on this wall with chairs and the girls

544
00:27:59,119 --> 00:28:01,800
Speaker 5: had just like nude bras and underwear on, and he

545
00:28:01,880 --> 00:28:05,520
Speaker 5: had just like a tiny nude shorts. And I remember like,

546
00:28:05,560 --> 00:28:08,520
Speaker 5: looking around, I knew what contemporary was. It was okay,

547
00:28:09,160 --> 00:28:15,920
Speaker 5: but I looked at it it was like, guys, somebody

548
00:28:15,920 --> 00:28:17,480
Speaker 5: needs to check Keely's heart rate.

549
00:28:18,600 --> 00:28:21,000
Speaker 4: We did not know we were getting into the Kenny

550
00:28:21,119 --> 00:28:22,360
Speaker 4: just brought us to a nude.

551
00:28:22,160 --> 00:28:28,159
Speaker 2: Show temporary contemporary.

552
00:28:29,520 --> 00:28:32,080
Speaker 4: At Raven. Raven's going, what the hell is going on?

553
00:28:32,680 --> 00:28:34,679
Speaker 3: You know, it's there were a lot of kids in

554
00:28:34,680 --> 00:28:36,280
Speaker 3: the audience, you know, Europe further.

555
00:28:38,480 --> 00:28:39,400
Speaker 2: But it was awesome.

556
00:28:39,440 --> 00:28:41,320
Speaker 5: That was a fun night that night, going to see

557
00:28:41,360 --> 00:28:45,480
Speaker 5: him like his actual because even in the movie Latin

558
00:28:45,560 --> 00:28:49,400
Speaker 5: dancing wasn't his like actual thing. He was a contemporary

559
00:28:49,000 --> 00:28:52,480
Speaker 5: ballet dancer and getting to see him in his realm

560
00:28:52,560 --> 00:28:55,760
Speaker 5: was just like, he's just phenomenal, but I very rarely

561
00:28:55,800 --> 00:28:57,560
Speaker 5: see a better dance male dancer than.

562
00:28:59,040 --> 00:29:00,360
Speaker 3: Was just really pleasure.

563
00:29:00,480 --> 00:29:03,800
Speaker 5: It was. That was my favorite days on the set

564
00:29:03,840 --> 00:29:08,000
Speaker 5: for sure, and we had a dancing, yes, the dancing,

565
00:29:08,040 --> 00:29:11,000
Speaker 5: and I just remember walking in and you were explained,

566
00:29:11,000 --> 00:29:14,000
Speaker 5: You had me walk through everything and explain with Daniel

567
00:29:14,280 --> 00:29:20,800
Speaker 5: are brilliant, Yes, And I was. I mean I had

568
00:29:20,920 --> 00:29:22,800
Speaker 5: chills the whole day. I'm like, this is going to

569
00:29:22,840 --> 00:29:25,680
Speaker 5: be one of the most epic it could be, but

570
00:29:25,720 --> 00:29:28,440
Speaker 5: it was. It was just it was like the most

571
00:29:28,440 --> 00:29:30,959
Speaker 5: inspirational day I'm sure of my career.

572
00:29:31,200 --> 00:29:32,040
Speaker 2: Still to this day.

573
00:29:32,200 --> 00:29:33,520
Speaker 4: It was just so amazing.

574
00:29:35,040 --> 00:29:40,280
Speaker 3: Cheetah Girls Too become majority of people, more and more

575
00:29:40,320 --> 00:29:43,320
Speaker 3: and more evident to me that it actually captured the

576
00:29:43,360 --> 00:29:46,560
Speaker 3: hearts and attention of a lot of fans. Oh yeah,

577
00:29:46,600 --> 00:29:50,240
Speaker 3: and that people stop me on the streets and go

578
00:29:50,440 --> 00:29:52,520
Speaker 3: and that and and that high school is the obvious

579
00:29:52,560 --> 00:29:55,160
Speaker 3: high school musical, you know, and and and and and

580
00:29:55,280 --> 00:29:57,760
Speaker 3: other things, depending on the age of the person that's

581
00:29:57,800 --> 00:30:00,080
Speaker 3: stopping me. But more and more and more and the

582
00:30:00,200 --> 00:30:02,480
Speaker 3: last years, people come up to me just the other night,

583
00:30:02,600 --> 00:30:05,200
Speaker 3: you know, talking about Cheetah Girls Too.

584
00:30:05,360 --> 00:30:08,440
Speaker 5: Yeah. What I love about it is it took them,

585
00:30:08,880 --> 00:30:10,920
Speaker 5: you know, here in America, took them out of this

586
00:30:11,040 --> 00:30:15,320
Speaker 5: world and opened up their eyes to traveling. And what

587
00:30:15,400 --> 00:30:19,080
Speaker 5: my favorite thing is now is that generation they want

588
00:30:19,080 --> 00:30:22,400
Speaker 5: to go to Barcelona, they want to reenact Goudy, they

589
00:30:22,440 --> 00:30:26,480
Speaker 5: want to reenact everywhere that we went in Parkway, Las Rambles,

590
00:30:26,640 --> 00:30:29,880
Speaker 5: and they're redoing these videos. That's what I like, mainly

591
00:30:29,920 --> 00:30:33,040
Speaker 5: love TikTok for is for them to redo these videos

592
00:30:33,080 --> 00:30:35,920
Speaker 5: and do our movements, the running in.

593
00:30:35,920 --> 00:30:37,800
Speaker 4: And out, and something new is going on.

594
00:30:38,240 --> 00:30:41,720
Speaker 5: They always flipped that leg that Raven had that big

595
00:30:41,760 --> 00:30:45,120
Speaker 5: old heeled boot. I couldn't believe she chomped around Barcelona

596
00:30:45,120 --> 00:30:47,720
Speaker 5: and those giant heels the whole time. I switched to

597
00:30:47,800 --> 00:30:53,320
Speaker 5: Tenny's I had platforms on and Kenny goes, you know, girls,

598
00:30:53,720 --> 00:30:55,160
Speaker 5: we're gonna be in these a lot and we're gonna

599
00:30:55,160 --> 00:30:56,400
Speaker 5: be dancing a lot. And I was like, yeah, I'm

600
00:30:56,400 --> 00:30:58,440
Speaker 5: gonna get some tennis shoes and raised like nope, I'm

601
00:30:58,480 --> 00:31:00,920
Speaker 5: gonna I'm gonna do these heel boots the whole bank.

602
00:31:01,280 --> 00:31:03,400
Speaker 3: So wait, you know, I was gonna say, Gary Marsh,

603
00:31:03,400 --> 00:31:07,920
Speaker 3: thanks to God that that that had the foresight to say,

604
00:31:08,000 --> 00:31:12,200
Speaker 3: let's broaden our horizons here and we have a world audience.

605
00:31:12,320 --> 00:31:15,320
Speaker 3: You know, Disney Channel has a world audience. Let's go

606
00:31:15,440 --> 00:31:17,560
Speaker 3: out there and play in the world. And I mean

607
00:31:17,560 --> 00:31:19,800
Speaker 3: he took Cheatah Girls three to India. He took Cheatah

608
00:31:19,800 --> 00:31:23,640
Speaker 3: Girls two, you know, to to Barcelona, you know. And

609
00:31:23,720 --> 00:31:27,480
Speaker 3: when these movies became successful, he you know, brought High

610
00:31:27,480 --> 00:31:30,040
Speaker 3: School Musical to Paris for its opening night and brought

611
00:31:30,080 --> 00:31:32,440
Speaker 3: it to London for its opening night. And and he

612
00:31:32,520 --> 00:31:37,200
Speaker 3: and Rich Ross really you know, I think invited the

613
00:31:37,200 --> 00:31:41,720
Speaker 3: world into the channel in a greater capacity than we

614
00:31:41,800 --> 00:31:43,040
Speaker 3: saw in other you know.

615
00:31:43,640 --> 00:31:46,760
Speaker 5: Yeah, yes, and he was willing to take risks, willing

616
00:31:46,880 --> 00:31:50,600
Speaker 5: to alays cost yeah.

617
00:31:50,760 --> 00:31:52,720
Speaker 2: Which Ross cast me on Nickelodeon when I was eleven

618
00:31:52,800 --> 00:31:53,200
Speaker 2: years old.

619
00:31:53,320 --> 00:32:03,840
Speaker 5: Yeah, so it was High School Musical. While we were

620
00:32:04,000 --> 00:32:07,680
Speaker 5: filming in Barcelona, was when Kenny was getting all of

621
00:32:07,840 --> 00:32:10,120
Speaker 5: remember this, we were well not filming, we were rehearsing.

622
00:32:10,680 --> 00:32:12,880
Speaker 5: Was when you were getting all the updates of Good

623
00:32:12,920 --> 00:32:16,520
Speaker 5: Morning America High School Musical cast. And it was basically

624
00:32:17,880 --> 00:32:21,760
Speaker 5: the fans shut down Times Square because it was so

625
00:32:22,000 --> 00:32:24,920
Speaker 5: massive and we're all we're at rehearsal and he's getting

626
00:32:25,000 --> 00:32:26,720
Speaker 5: video after video you and.

627
00:32:27,280 --> 00:32:30,280
Speaker 1: What That's what I'm wondering is so when Gary or

628
00:32:30,480 --> 00:32:32,680
Speaker 1: Rich comes to you and says, we're we want to

629
00:32:32,680 --> 00:32:34,480
Speaker 1: do a musical dcom.

630
00:32:34,520 --> 00:32:36,600
Speaker 2: Because that was kind of they started Cheaty Girls one.

631
00:32:36,680 --> 00:32:38,600
Speaker 2: We were kind of the first Oh you went to that?

632
00:32:38,680 --> 00:32:42,840
Speaker 3: Yeh, Bill, Bill Borden and Barry Rosenbush who produced High

633
00:32:42,880 --> 00:32:47,200
Speaker 3: School Musical, and and Peter Barzaccini, who had written it,

634
00:32:47,240 --> 00:32:49,960
Speaker 3: came to me. I had asked, this is such a

635
00:32:49,960 --> 00:32:53,280
Speaker 3: beautiful story. I had called my agents at a paradigm.

636
00:32:53,600 --> 00:32:55,920
Speaker 3: Ken Greenblatt was my agent at the time, and I

637
00:32:55,960 --> 00:32:57,920
Speaker 3: was doing a lot of TV at a lot of

638
00:32:59,080 --> 00:33:04,360
Speaker 3: episodic telep back in the day. It was Chicago Hope

639
00:33:04,360 --> 00:33:08,560
Speaker 3: and then Allie McBeal and then The Gilmore Girls, and

640
00:33:08,680 --> 00:33:12,120
Speaker 3: I missed doing long form and I really wanted to,

641
00:33:12,240 --> 00:33:16,000
Speaker 3: you know, to do a long form musical. And so

642
00:33:16,080 --> 00:33:17,719
Speaker 3: I reached out to my agent and I said, can

643
00:33:17,760 --> 00:33:20,640
Speaker 3: you just find me a little, tiny script, a little

644
00:33:20,640 --> 00:33:23,160
Speaker 3: script that we can with a little budget, that I

645
00:33:23,160 --> 00:33:26,000
Speaker 3: could we could go to a cable station, you know,

646
00:33:26,080 --> 00:33:28,520
Speaker 3: and just a little under the radar, just so that

647
00:33:28,560 --> 00:33:31,239
Speaker 3: I have something that I can take with me and

648
00:33:31,360 --> 00:33:34,720
Speaker 3: show people that I know how to do this. And

649
00:33:34,800 --> 00:33:37,480
Speaker 3: he called me within twenty four hours and he said,

650
00:33:37,480 --> 00:33:40,920
Speaker 3: I'm sending you a script. It's called a High School Musical.

651
00:33:41,000 --> 00:33:44,600
Speaker 3: It's a working title, and I read it and I said,

652
00:33:44,760 --> 00:33:47,200
Speaker 3: oh my god, I said, this is like this is

653
00:33:47,240 --> 00:33:50,400
Speaker 3: my life. Not only do do I think that I

654
00:33:50,440 --> 00:33:52,880
Speaker 3: would want to do this, I mean I lived this

655
00:33:53,320 --> 00:33:56,760
Speaker 3: in so many capacities. So I said yes immediately to

656
00:33:56,840 --> 00:34:00,520
Speaker 3: Barry and Bill and then and Peter, and we went

657
00:34:00,560 --> 00:34:03,000
Speaker 3: in to have a meeting at Disney. They read it

658
00:34:03,080 --> 00:34:05,800
Speaker 3: and liked the idea, brought us all in and Gary

659
00:34:05,840 --> 00:34:09,080
Speaker 3: Marsh said to me, if you could do anything that

660
00:34:09,160 --> 00:34:12,400
Speaker 3: you want with this movie, what would it be. And

661
00:34:12,480 --> 00:34:15,680
Speaker 3: I said I would make it a musical. And he said,

662
00:34:16,000 --> 00:34:18,320
Speaker 3: I've been waiting for four years for the right person

663
00:34:18,360 --> 00:34:20,440
Speaker 3: to come in and say that. And he said, how

664
00:34:20,440 --> 00:34:23,560
Speaker 3: would you go about that? And I said, let me

665
00:34:23,640 --> 00:34:26,440
Speaker 3: work with your music people here and we'll create an

666
00:34:26,520 --> 00:34:30,040
Speaker 3: outline of how music can work through this story. And

667
00:34:30,080 --> 00:34:32,640
Speaker 3: we went away and we came back with a first

668
00:34:32,640 --> 00:34:36,040
Speaker 3: outline and we started working with the studio and there

669
00:34:36,040 --> 00:34:36,319
Speaker 3: we are.

670
00:34:36,560 --> 00:34:40,560
Speaker 5: Wow, because it truly was like what he was asking.

671
00:34:41,000 --> 00:34:44,480
Speaker 4: It really was the Channel's first musical. The Cheetah Girls

672
00:34:44,480 --> 00:34:45,080
Speaker 4: did come.

673
00:34:44,960 --> 00:34:50,000
Speaker 5: Before it, but our songs were more like music videos,

674
00:34:50,080 --> 00:34:54,879
Speaker 5: like our performance driven versus it being like you know,

675
00:34:55,160 --> 00:34:59,799
Speaker 5: singing through the streets Barcelona before it was something like that.

676
00:35:00,000 --> 00:35:03,160
Speaker 5: It was more all performance driven. Then High School Musical

677
00:35:03,200 --> 00:35:05,759
Speaker 5: came and became this just like.

678
00:35:05,920 --> 00:35:10,239
Speaker 3: It said, duh, there's an audience. There's an audience, a

679
00:35:10,320 --> 00:35:13,160
Speaker 3: global audience that needs this.

680
00:35:14,520 --> 00:35:16,080
Speaker 2: Did you know when you were shooting it that it

681
00:35:16,120 --> 00:35:17,440
Speaker 2: was going to be as successful as it was?

682
00:35:17,520 --> 00:35:21,239
Speaker 3: I love that question, you know, because I did. I

683
00:35:21,280 --> 00:35:22,600
Speaker 3: had done dirty dancing, don't.

684
00:35:23,040 --> 00:35:24,640
Speaker 4: Yeah, no one can forget that.

685
00:35:24,800 --> 00:35:27,720
Speaker 3: And so you get this feeling, you know, you guys

686
00:35:27,760 --> 00:35:32,719
Speaker 3: know this. You get this feeling when all engines are

687
00:35:32,920 --> 00:35:37,320
Speaker 3: working in harmony where everything is just kind of perfectly

688
00:35:37,400 --> 00:35:41,759
Speaker 3: sort of moving, you know, in the same direction as

689
00:35:41,800 --> 00:35:44,400
Speaker 3: a director, where you feel that there's an incredible extension

690
00:35:44,440 --> 00:35:47,120
Speaker 3: of your energy and your and your ideas that are

691
00:35:47,360 --> 00:35:50,040
Speaker 3: that people are connected to and are supporting you in

692
00:35:50,280 --> 00:35:54,480
Speaker 3: in in you know, your highest aspirations. And and I

693
00:35:54,560 --> 00:35:56,800
Speaker 3: remember when we were doing We're All in This Together,

694
00:35:56,880 --> 00:35:59,719
Speaker 3: the finale of High School Musical one in the gymnasium,

695
00:36:00,600 --> 00:36:02,640
Speaker 3: and and we'd already shot quite a bit of the

696
00:36:02,680 --> 00:36:06,000
Speaker 3: movie and and uh and and and and the work

697
00:36:06,040 --> 00:36:08,120
Speaker 3: that these kids had put into it, and my crew

698
00:36:08,200 --> 00:36:11,080
Speaker 3: had put into it, and the producers and the creative

699
00:36:11,080 --> 00:36:13,840
Speaker 3: team had put into it was evident, and the dailies

700
00:36:13,880 --> 00:36:16,239
Speaker 3: and everyone was excited. Well, all of a sudden, we

701
00:36:16,320 --> 00:36:19,000
Speaker 3: had all these cameras and these cranes and these you know,

702
00:36:19,480 --> 00:36:23,160
Speaker 3: and and and we we hit playback, and I called action,

703
00:36:23,920 --> 00:36:27,319
Speaker 3: and they they started going. The cast started dancing, and

704
00:36:27,360 --> 00:36:29,839
Speaker 3: then more dancers came on, and then more dancers came on.

705
00:36:29,880 --> 00:36:33,560
Speaker 3: And I just found myself blown back, like a storm

706
00:36:33,680 --> 00:36:36,040
Speaker 3: was hitting my chest. And when when when when I

707
00:36:36,120 --> 00:36:41,239
Speaker 3: called cut, the room erupted into cheers, and they were embracing,

708
00:36:41,280 --> 00:36:44,640
Speaker 3: and they were sweating, and and I called the cast together,

709
00:36:45,200 --> 00:36:47,200
Speaker 3: just the main cast together, and I pulled them into

710
00:36:47,239 --> 00:36:50,240
Speaker 3: a circle. Mon I will tell you this story. And

711
00:36:50,239 --> 00:36:53,320
Speaker 3: and and I said, guys, if the Walt Disney Channel

712
00:36:53,560 --> 00:36:57,080
Speaker 3: does the work in marketing that you put into making

713
00:36:57,120 --> 00:37:00,839
Speaker 3: this movie, get ready for your lives to change. Yes.

714
00:37:01,520 --> 00:37:04,320
Speaker 3: And she says, I remember that day, Kenny, I remember

715
00:37:04,320 --> 00:37:08,839
Speaker 3: when you said get ready. And and we didn't know

716
00:37:08,960 --> 00:37:11,600
Speaker 3: then that you know, this could be the start of something,

717
00:37:12,280 --> 00:37:15,120
Speaker 3: a phenomenon, you know, the opening song of high school

718
00:37:15,200 --> 00:37:18,080
Speaker 3: musical one. This could be the start of something. We

719
00:37:18,120 --> 00:37:21,120
Speaker 3: have no idea, you know, literally until the sort of

720
00:37:21,280 --> 00:37:24,439
Speaker 3: middle of the movie that this was going to turn

721
00:37:24,520 --> 00:37:26,560
Speaker 3: the page on all of our lives.

722
00:37:26,600 --> 00:37:26,960
Speaker 1: Ye for.

723
00:37:28,440 --> 00:37:33,359
Speaker 3: Garry's life Riches. It was only a domestic movie. Then

724
00:37:33,440 --> 00:37:35,960
Speaker 3: Ridge said I'm taking this to London and then they

725
00:37:36,000 --> 00:37:38,600
Speaker 3: put it up and then it went to the South America,

726
00:37:38,680 --> 00:37:40,480
Speaker 3: and then it went to Europe and then it went

727
00:37:40,520 --> 00:37:44,640
Speaker 3: to as So it changed everybody's life. It broke stars

728
00:37:44,680 --> 00:37:47,520
Speaker 3: out from the cast and you know, everybody that worked

729
00:37:47,520 --> 00:37:49,920
Speaker 3: on that film. By saying I was a part of

730
00:37:50,000 --> 00:37:53,520
Speaker 3: High School Musical, it just seemed to be an entry.

731
00:37:53,800 --> 00:37:58,200
Speaker 4: Yes, did you work on their tour? Did you do you?

732
00:37:58,239 --> 00:37:59,880
Speaker 5: Did you do everything for the tour? I thought so,

733
00:38:00,640 --> 00:38:03,719
Speaker 5: which was which was big because we had already been

734
00:38:03,760 --> 00:38:05,920
Speaker 5: on tour and.

735
00:38:07,640 --> 00:38:09,399
Speaker 4: With what we had, the knowledge we.

736
00:38:09,360 --> 00:38:12,120
Speaker 5: Had going into it, you know, we did as much

737
00:38:12,160 --> 00:38:12,800
Speaker 5: as we could.

738
00:38:13,920 --> 00:38:15,239
Speaker 4: You came in and was.

739
00:38:15,400 --> 00:38:18,160
Speaker 5: Finally telling like things that we were trying to, like

740
00:38:18,440 --> 00:38:21,920
Speaker 5: fight for production value, things that needed to happen. You

741
00:38:21,960 --> 00:38:26,080
Speaker 5: came in and did high School Musical and they were like, oh, okay,

742
00:38:26,719 --> 00:38:28,960
Speaker 5: but the third tour that we got to do or

743
00:38:29,000 --> 00:38:32,000
Speaker 5: the actually the party's just begun tour. They had already

744
00:38:32,080 --> 00:38:34,720
Speaker 5: learned so much from you guys that it was nice

745
00:38:34,719 --> 00:38:37,560
Speaker 5: for us to finally like feel like they were prepped,

746
00:38:37,640 --> 00:38:41,400
Speaker 5: because again Disney didn't know what had to really one

747
00:38:41,480 --> 00:38:45,000
Speaker 5: hundred percent market a soundtrack. When the first Cheetah Girls

748
00:38:45,040 --> 00:38:48,600
Speaker 5: came out, they did it so much better and bigger

749
00:38:48,640 --> 00:38:50,960
Speaker 5: for your high school musical. And they were learning because

750
00:38:50,960 --> 00:38:52,879
Speaker 5: this wasn't a thing that was on the channel before.

751
00:38:53,160 --> 00:38:57,359
Speaker 3: The first soundtrack ever on television to hit the top

752
00:38:57,400 --> 00:39:02,560
Speaker 3: of Billboard charts, it went platinum and and that and

753
00:39:02,640 --> 00:39:05,520
Speaker 3: that it went global. It was clear that there was

754
00:39:05,560 --> 00:39:07,160
Speaker 3: something that we could do. We could take it off

755
00:39:07,160 --> 00:39:11,280
Speaker 3: the small screen. And I remember we sold out arena

756
00:39:11,360 --> 00:39:14,520
Speaker 3: tours in the United States faster than any pop group

757
00:39:14,560 --> 00:39:20,480
Speaker 3: that year and broke Madonna's merchandising record. And then I

758
00:39:20,480 --> 00:39:23,960
Speaker 3: got a call from Gary and he said, the president

759
00:39:24,000 --> 00:39:26,960
Speaker 3: of Disney Channel in South America wants us to come

760
00:39:26,960 --> 00:39:29,520
Speaker 3: to South America. And I was like, we're prepping high

761
00:39:29,560 --> 00:39:31,920
Speaker 3: school musical two. We don't We're not going to have time.

762
00:39:31,960 --> 00:39:34,000
Speaker 3: When he goes, no, no, no, you'll have time. We're just

763
00:39:34,040 --> 00:39:36,440
Speaker 3: going to do five or six concerts. We're doing them

764
00:39:36,440 --> 00:39:41,560
Speaker 3: in stadiums. And I was like what and and he

765
00:39:41,680 --> 00:39:47,319
Speaker 3: was like stadiums. So I remember we went to Buenos Aires, Argentina,

766
00:39:48,320 --> 00:39:53,160
Speaker 3: and we sold out two seventy five thousand seat soccer

767
00:39:53,239 --> 00:39:57,680
Speaker 3: stadiums two. And on top of that, there were tens

768
00:39:57,680 --> 00:40:00,879
Speaker 3: of thousands of people lining the streets when we were

769
00:40:01,000 --> 00:40:04,920
Speaker 3: driving from the hotel to the to the stadium. Only

770
00:40:04,960 --> 00:40:11,840
Speaker 3: the Rolling Stones had done that before. In San Paolo, Brazil, Paolo, Brazil,

771
00:40:12,280 --> 00:40:17,160
Speaker 3: ninety four thousand people. There were so many people outside

772
00:40:17,600 --> 00:40:21,320
Speaker 3: that were trying to get in. The promoters almost considered

773
00:40:21,640 --> 00:40:27,680
Speaker 3: canceling the performance because they were afraid of problems. Figured

774
00:40:27,680 --> 00:40:30,440
Speaker 3: it out. The show went on eighty eight thousand people

775
00:40:30,640 --> 00:40:35,440
Speaker 3: in Mexico. I mean, it really was a global phenomena.

776
00:40:35,880 --> 00:40:38,880
Speaker 3: That was a global phenomena. It was the biggest cable

777
00:40:39,360 --> 00:40:43,440
Speaker 3: a show of all time, including football. Right, it just

778
00:40:43,520 --> 00:40:44,200
Speaker 3: did something.

779
00:40:45,160 --> 00:40:47,719
Speaker 5: No, we're from the channel, That's what was always what

780
00:40:47,800 --> 00:40:49,880
Speaker 5: we were looking at each other going, we are a

781
00:40:50,000 --> 00:40:51,320
Speaker 5: Disney Channel act.

782
00:40:51,880 --> 00:40:57,120
Speaker 3: I'll tell you Rich Ross was told that by his superiors,

783
00:40:57,520 --> 00:40:59,319
Speaker 3: as I remember the story, and I could be wrong,

784
00:40:59,360 --> 00:41:01,920
Speaker 3: and I'm not putting anybody down. I'm really not. I

785
00:41:01,960 --> 00:41:04,400
Speaker 3: adore the people that I've worked with there at the studio,

786
00:41:04,440 --> 00:41:07,360
Speaker 3: all the way back to Michael Eisner and Jeffrey and

787
00:41:07,400 --> 00:41:12,480
Speaker 3: you know, but that rich Ross was told this is

788
00:41:12,520 --> 00:41:17,000
Speaker 3: a you know, an American story. They don't go to

789
00:41:17,040 --> 00:41:19,200
Speaker 3: school like this in London, they don't go to school

790
00:41:19,239 --> 00:41:22,800
Speaker 3: like this in other countries. This is a domestic product.

791
00:41:23,120 --> 00:41:25,520
Speaker 3: And he didn't believe that, and he stuck it in

792
00:41:25,600 --> 00:41:28,520
Speaker 3: his pocket, and when he went to London for other reasons,

793
00:41:28,680 --> 00:41:31,040
Speaker 3: he threw it on the table for the head of

794
00:41:31,200 --> 00:41:34,000
Speaker 3: Disney and Disney Channel in London and they said, we

795
00:41:34,080 --> 00:41:37,920
Speaker 3: want this. Yeah, and then it became the second biggest market,

796
00:41:38,080 --> 00:41:41,120
Speaker 3: and then and then Europe and whatever came next, and

797
00:41:41,200 --> 00:41:44,320
Speaker 3: so it was just really you know, so many people

798
00:41:44,480 --> 00:41:47,880
Speaker 3: that made right decisions and they were courageous, they took risks.

799
00:41:48,360 --> 00:41:50,359
Speaker 1: Yeah, well they stood behind the product, which is something

800
00:41:50,400 --> 00:41:51,760
Speaker 1: that doesn't stop another product.

801
00:41:51,760 --> 00:41:53,680
Speaker 3: So what I said to the kids that day, you know,

802
00:41:53,760 --> 00:41:56,480
Speaker 3: if the Walt Disney Company gets behind this in the

803
00:41:56,480 --> 00:41:59,360
Speaker 3: capacity that you have, get ready for your lives to change.

804
00:41:59,360 --> 00:42:03,719
Speaker 3: Only because I did, did all these lives change, absolutely?

805
00:42:04,560 --> 00:42:06,839
Speaker 5: And it changed the game for the channel because now

806
00:42:06,840 --> 00:42:09,759
Speaker 5: we're going to be like pushing into everything that you've done.

807
00:42:09,800 --> 00:42:12,440
Speaker 5: I mean, obviously we did Focus Focus, which was before that.

808
00:42:13,120 --> 00:42:19,920
Speaker 5: When when did Descendants come into small franchise that one.

809
00:42:24,800 --> 00:42:26,640
Speaker 4: When did when did that come in?

810
00:42:26,719 --> 00:42:27,040
Speaker 2: First?

811
00:42:27,080 --> 00:42:29,719
Speaker 5: We did find out from one of our interviews that

812
00:42:29,800 --> 00:42:32,319
Speaker 5: it was not a musical at first. The script wasn't

813
00:42:32,320 --> 00:42:35,400
Speaker 5: a musical. That was you making it into a musical?

814
00:42:36,120 --> 00:42:39,759
Speaker 5: When did that come on in the like time frame?

815
00:42:39,800 --> 00:42:42,799
Speaker 5: Because it's pretty it's pretty far out from the high

816
00:42:42,840 --> 00:42:46,560
Speaker 5: school musical time right on the channel was a few

817
00:42:46,640 --> 00:42:50,440
Speaker 5: years after, right, How did that that whole project come

818
00:42:50,480 --> 00:42:51,880
Speaker 5: into your last to do other things?

819
00:42:51,960 --> 00:42:55,000
Speaker 3: Yes? Yeah, And I was in Las Vegas actually at

820
00:42:55,000 --> 00:42:58,120
Speaker 3: the Wind Hotel. I produced the opening of all the

821
00:42:58,160 --> 00:43:01,799
Speaker 3: Wind Hotels, the Bellagio Hotel, the Encore Hotels. I did

822
00:43:01,800 --> 00:43:06,000
Speaker 3: the Belagio fountains, you know. I was the choreographer that

823
00:43:06,200 --> 00:43:09,279
Speaker 3: made the water hear the music, you know. And I

824
00:43:09,280 --> 00:43:11,560
Speaker 3: got a telephone call from Gary And I was doing

825
00:43:11,640 --> 00:43:14,200
Speaker 3: the Lake of Dreams at the Wind Hotel in Las Vegas,

826
00:43:14,200 --> 00:43:17,800
Speaker 3: which is this outdoor, interactive kind of big experience. And

827
00:43:18,160 --> 00:43:20,360
Speaker 3: I got this call from Gary Marsh and he said,

828
00:43:20,680 --> 00:43:22,800
Speaker 3: I've got a script. I haven't shown it to anyone.

829
00:43:24,040 --> 00:43:26,239
Speaker 3: It has your name all over it. I would love

830
00:43:26,280 --> 00:43:27,560
Speaker 3: for you to take a look at it. And I said,

831
00:43:27,560 --> 00:43:30,439
Speaker 3: I'm honored. Thank you. Gary. He said, it's descend It's

832
00:43:30,440 --> 00:43:33,319
Speaker 3: called Descendants, and it's about the children of you know,

833
00:43:33,400 --> 00:43:37,680
Speaker 3: the Disney you know, heritage characters. And I was like yes,

834
00:43:38,800 --> 00:43:42,000
Speaker 3: and he said, we'll read it. I said, okay, but yes,

835
00:43:42,880 --> 00:43:45,480
Speaker 3: and I read it right away that night, and I

836
00:43:45,520 --> 00:43:47,319
Speaker 3: called him, I think that night and I was like,

837
00:43:47,400 --> 00:43:49,719
Speaker 3: oh my god, yes, Gary, I would love to be

838
00:43:49,760 --> 00:43:51,120
Speaker 3: a part of this. And he said it's not a

839
00:43:51,200 --> 00:43:54,680
Speaker 3: musical and I don't think we debated that at the moment, okay,

840
00:43:54,840 --> 00:43:57,160
Speaker 3: And then after I hung up, I remembered all of

841
00:43:57,160 --> 00:44:00,680
Speaker 3: a sudden getting really dizzy and like honestly almost fainting,

842
00:44:00,680 --> 00:44:03,920
Speaker 3: and I thought, what have I just done? You know,

843
00:44:04,080 --> 00:44:06,719
Speaker 3: I'm I'm now putting myself in a position to take

844
00:44:06,719 --> 00:44:11,239
Speaker 3: on the responsibility of telling a story with characters that

845
00:44:11,360 --> 00:44:14,719
Speaker 3: are born out of some of the most important Disney

846
00:44:14,960 --> 00:44:20,920
Speaker 3: characters of all time. You can't mess this. And I

847
00:44:21,080 --> 00:44:23,080
Speaker 3: was really terrified.

848
00:44:22,920 --> 00:44:24,400
Speaker 2: Really really wow.

849
00:44:24,640 --> 00:44:30,000
Speaker 8: I remembered hyperventilating and going whoa and and kind of

850
00:44:30,040 --> 00:44:31,960
Speaker 8: like that moment all the way back when I was

851
00:44:31,960 --> 00:44:34,120
Speaker 8: a kid, you know, working on stage with the London

852
00:44:34,160 --> 00:44:37,200
Speaker 8: company of Oliver, going boy, have you got I realized

853
00:44:37,440 --> 00:44:40,239
Speaker 8: you've really got a prep now, you've really got to

854
00:44:40,239 --> 00:44:42,879
Speaker 8: think this through. This is not going back and doing

855
00:44:42,960 --> 00:44:47,960
Speaker 8: anything that you've done before. This is honoring the heritage

856
00:44:48,080 --> 00:44:52,279
Speaker 8: characters of the Walt Disney.

857
00:44:52,080 --> 00:44:54,480
Speaker 5: Which when we've watched the first one, that's one of

858
00:44:54,560 --> 00:44:58,600
Speaker 5: the first things we talked about. This is like, so,

859
00:44:58,760 --> 00:45:02,400
Speaker 5: because I'm such a Disney person, I could. I would

860
00:45:02,560 --> 00:45:05,719
Speaker 5: live at Disneyland if I could, if there was an opportunity,

861
00:45:05,719 --> 00:45:06,319
Speaker 5: I would be there.

862
00:45:07,960 --> 00:45:10,359
Speaker 4: True, absolutely, I just live in that.

863
00:45:10,400 --> 00:45:16,000
Speaker 5: Club thirty three give the service, would be our guest.

864
00:45:16,680 --> 00:45:22,520
Speaker 5: So but it was done so creatively. It wasn't always

865
00:45:22,520 --> 00:45:24,719
Speaker 5: one hundred percent like in your face. I mean, it

866
00:45:24,760 --> 00:45:26,319
Speaker 5: was just that was what I said. I said, it

867
00:45:26,360 --> 00:45:28,320
Speaker 5: was just done perfectly.

868
00:45:28,480 --> 00:45:30,640
Speaker 2: But wait then, how did it become a musical?

869
00:45:31,360 --> 00:45:34,200
Speaker 3: Gary said, Okay, show me you know, and which is great?

870
00:45:34,280 --> 00:45:37,160
Speaker 3: I don't mind. You know why? You know, razon reason

871
00:45:37,239 --> 00:45:40,120
Speaker 3: for being? What is the reason that lives at the

872
00:45:40,160 --> 00:45:43,200
Speaker 3: center of the idea that makes it valuable and worthwhile

873
00:45:43,239 --> 00:45:46,439
Speaker 3: getting up for every day and rushing out the door

874
00:45:46,680 --> 00:45:49,920
Speaker 3: no matter how pooped you are, right, you know, no matter

875
00:45:49,960 --> 00:45:52,080
Speaker 3: if you're not feeling your best, what is Arazon de

876
00:45:52,600 --> 00:45:54,960
Speaker 3: Gary would challenge me, you know in those ways. You know,

877
00:45:55,000 --> 00:45:56,640
Speaker 3: why why do you want to make it a musical?

878
00:45:57,239 --> 00:46:01,200
Speaker 3: It works? It works, you know. And then Steve Vincent,

879
00:46:01,280 --> 00:46:03,480
Speaker 3: who I worked with on all the high school musicals

880
00:46:03,480 --> 00:46:06,800
Speaker 3: and Cheater Girls too, and all the descendants and Miley

881
00:46:06,880 --> 00:46:09,040
Speaker 3: Sires of the Jonas Brothers, is just one of my

882
00:46:09,040 --> 00:46:12,120
Speaker 3: favorite human beings on the planet. Steve Vincent music Maestro.

883
00:46:12,800 --> 00:46:14,760
Speaker 3: We went away and we came back with an outline,

884
00:46:14,760 --> 00:46:18,919
Speaker 3: and Gary looked at it and said, okay, okay, gave

885
00:46:19,000 --> 00:46:21,960
Speaker 3: us the support to go forward and go full blown out.

886
00:46:22,000 --> 00:46:23,080
Speaker 3: That's how I remember it.

887
00:46:23,280 --> 00:46:32,960
Speaker 5: Yeah, did you have anyone already set in your mind

888
00:46:33,040 --> 00:46:34,320
Speaker 5: of who you were wanting to cast?

889
00:46:34,360 --> 00:46:34,879
Speaker 3: Gary did?

890
00:46:35,080 --> 00:46:35,600
Speaker 2: Gary did?

891
00:46:35,680 --> 00:46:35,919
Speaker 4: Okay?

892
00:46:36,040 --> 00:46:38,840
Speaker 3: Okay, Yeah, Gary did? And I did, okay? And the

893
00:46:38,880 --> 00:46:40,560
Speaker 3: one I wanted, he said, you can't have.

894
00:46:40,880 --> 00:46:42,719
Speaker 2: Oh I was unavailable.

895
00:46:43,040 --> 00:46:50,919
Speaker 3: Yeah. I wanted Cameron Boyce to play Cruella Deville's son.

896
00:46:51,920 --> 00:46:53,960
Speaker 3: I could not get him out of my brain and

897
00:46:54,000 --> 00:46:55,480
Speaker 3: I wouldn't get him out of my brain, and I

898
00:46:55,560 --> 00:46:57,600
Speaker 3: knew too much about his history and what he could do,

899
00:46:57,760 --> 00:47:00,200
Speaker 3: and I just was madly crazy in love with him

900
00:47:00,200 --> 00:47:03,600
Speaker 3: as an artist on television. And Gary said, and the

901
00:47:03,640 --> 00:47:06,080
Speaker 3: head of casting, Judy Taylor and her whole team said,

902
00:47:06,640 --> 00:47:09,400
Speaker 3: we're going to develop a movie for him. We're developing

903
00:47:09,400 --> 00:47:12,680
Speaker 3: a movie for him, and I was like, I couldn't

904
00:47:12,680 --> 00:47:15,040
Speaker 3: get it out of my head. And we were seeing

905
00:47:15,120 --> 00:47:19,239
Speaker 3: actors and I wasn't There wasn't anybody I cared about

906
00:47:19,360 --> 00:47:22,040
Speaker 3: holding on to, and honest to God, this is the

907
00:47:22,160 --> 00:47:26,200
Speaker 3: squear to God truth. We're auditioning actors for the role

908
00:47:26,400 --> 00:47:29,880
Speaker 3: of Carlos for that role. And I took a break

909
00:47:29,920 --> 00:47:32,160
Speaker 3: to go outside into the hallway and Gary was in

910
00:47:32,200 --> 00:47:34,359
Speaker 3: the room, and Judy Taylor was in the room, and

911
00:47:34,520 --> 00:47:37,200
Speaker 3: La Padour and Harder casting directors were in the room,

912
00:47:37,680 --> 00:47:39,759
Speaker 3: and I took a little break and I walked outside

913
00:47:40,000 --> 00:47:42,120
Speaker 3: and Cameron Boyce was sitting on a couch in the

914
00:47:42,160 --> 00:47:46,080
Speaker 3: hallway and I thought, oh my god, he's here. He's

915
00:47:46,160 --> 00:47:49,440
Speaker 3: auditioning for me. And so I said, oh my god,

916
00:47:49,560 --> 00:47:52,600
Speaker 3: Cameron Boyce and he said, Kenny Ortega and we started

917
00:47:52,640 --> 00:47:55,880
Speaker 3: talking to one another, and I'm like, literally out of

918
00:47:55,920 --> 00:48:00,480
Speaker 3: my mind excited, and I said, I'm so happy you're here. Uh,

919
00:48:01,200 --> 00:48:03,479
Speaker 3: you know, do you have any questions for me before

920
00:48:03,520 --> 00:48:05,680
Speaker 3: you come in? And he was like, I'm not coming

921
00:48:05,719 --> 00:48:08,560
Speaker 3: in to see you, geez, I'm here for something else

922
00:48:09,440 --> 00:48:12,160
Speaker 3: and I said, oh, I said, I desperately wanted to

923
00:48:12,200 --> 00:48:15,000
Speaker 3: see you for a movie I'm doing called The Descendants.

924
00:48:15,000 --> 00:48:17,200
Speaker 3: And he said, well, I'll audition for you. And then

925
00:48:17,239 --> 00:48:20,080
Speaker 3: I said, hold on a second. And I walked into

926
00:48:20,120 --> 00:48:21,840
Speaker 3: the room and I was like, I can't rememboy. He

927
00:48:21,960 --> 00:48:28,520
Speaker 3: just told me that he wants an audition. Garry looked

928
00:48:28,520 --> 00:48:30,040
Speaker 3: at me like, You're like.

929
00:48:30,080 --> 00:48:36,840
Speaker 4: No good, but this is my favorite part. Gary knows

930
00:48:36,840 --> 00:48:40,359
Speaker 4: you very well. What was he even thinking.

931
00:48:40,239 --> 00:48:43,440
Speaker 3: Trying to Gary? I think it was it was kind

932
00:48:43,480 --> 00:48:46,480
Speaker 3: of an honoring you know, that they had a relationship

933
00:48:46,520 --> 00:48:49,440
Speaker 3: with with with Cameron and his family. He was doing

934
00:48:49,520 --> 00:48:53,360
Speaker 3: extremely well, his numbers were really high, that they wanted

935
00:48:53,360 --> 00:48:54,920
Speaker 3: to treat him, you know, in a way that he

936
00:48:54,960 --> 00:48:57,000
Speaker 3: was deserving and giving him a title kind of a

937
00:48:57,120 --> 00:48:59,319
Speaker 3: tile ring, and that he was going to be one

938
00:48:59,320 --> 00:49:02,080
Speaker 3: of four. And they weren't sure that that's the way

939
00:49:02,080 --> 00:49:04,200
Speaker 3: that they wanted to move him. And he was like,

940
00:49:04,239 --> 00:49:06,920
Speaker 3: I'm ready, let's go. I'm in on this. He wanted

941
00:49:06,960 --> 00:49:10,440
Speaker 3: Dove Cameron. He said, I've got an actress that I

942
00:49:10,520 --> 00:49:13,760
Speaker 3: think is one of the top actresses that we've ever had.

943
00:49:14,040 --> 00:49:16,480
Speaker 3: On the channel. I can't wait for you to meet her.

944
00:49:16,760 --> 00:49:19,479
Speaker 3: Her name is Dove Cameron, I said, and he said,

945
00:49:19,520 --> 00:49:22,120
Speaker 3: she's on the show. I watched her. I was like, whoa.

946
00:49:22,640 --> 00:49:24,440
Speaker 3: And then he brought her into the room. She put

947
00:49:24,480 --> 00:49:28,080
Speaker 3: on a black wig. She came in and like full

948
00:49:28,160 --> 00:49:31,200
Speaker 3: drag and walked into the room and did mal and

949
00:49:31,280 --> 00:49:36,959
Speaker 3: I was on the floor. I was like the part

950
00:49:36,960 --> 00:49:39,120
Speaker 3: of why he wanted to do Descendants was he knew

951
00:49:39,560 --> 00:49:45,120
Speaker 3: he had Maleficent's daughter, and everything after that was that's

952
00:49:45,120 --> 00:49:46,959
Speaker 3: called Kenny. Let's get him to read the script, Let's

953
00:49:46,960 --> 00:49:48,399
Speaker 3: move quickly, and let's make it now.

954
00:49:48,440 --> 00:49:51,040
Speaker 1: Did you have the same feeling while shooting Descendants that

955
00:49:51,040 --> 00:49:52,160
Speaker 1: you did with High School Musical?

956
00:49:52,160 --> 00:49:53,560
Speaker 2: Like did you know that it was going to be

957
00:49:53,640 --> 00:49:54,240
Speaker 2: what it became?

958
00:49:54,520 --> 00:49:56,239
Speaker 4: And why was it during rotten to the core?

959
00:49:57,840 --> 00:49:59,880
Speaker 2: Because that is my she loves it.

960
00:50:01,000 --> 00:50:03,640
Speaker 5: I will choose any moment to ever talk about it.

961
00:50:03,719 --> 00:50:06,200
Speaker 5: When we watched it, I said that right there, that

962
00:50:06,360 --> 00:50:08,600
Speaker 5: is the Newsy's that is the High School Musical.

963
00:50:08,840 --> 00:50:09,360
Speaker 4: This is the.

964
00:50:09,760 --> 00:50:13,120
Speaker 5: Routine that puts Kenny Ortega on a different map that

965
00:50:13,280 --> 00:50:16,160
Speaker 5: no one else lives on. It is so good, Kenny,

966
00:50:16,280 --> 00:50:19,520
Speaker 5: I could jam out my daughter jams out to it.

967
00:50:19,520 --> 00:50:22,279
Speaker 4: It is so good. I love it.

968
00:50:22,360 --> 00:50:25,239
Speaker 3: I have to say thank you to Steve Vincent, our

969
00:50:25,360 --> 00:50:28,480
Speaker 3: music supervisor, and the writer, the composers, but also to

970
00:50:28,920 --> 00:50:33,280
Speaker 3: my creative partner and and and sociate associate choreographer Paul Becker,

971
00:50:33,840 --> 00:50:36,680
Speaker 3: you know, and together we worked, you know, in hand

972
00:50:36,680 --> 00:50:40,920
Speaker 3: in hand in the choreography for you know, for that opening.

973
00:50:40,960 --> 00:50:43,200
Speaker 3: He did the first movie, and then Tony Testa did

974
00:50:43,200 --> 00:50:45,439
Speaker 3: the second one, and then Jamal Simms did the third one.

975
00:50:45,560 --> 00:50:48,640
Speaker 4: Tony test we worked with him. He's amazing. I loved

976
00:50:48,719 --> 00:50:49,719
Speaker 4: in the second.

977
00:50:49,360 --> 00:50:54,800
Speaker 5: One, the routine where we first see Ursula's daughter, Oh yeah,

978
00:50:54,840 --> 00:50:57,200
Speaker 5: And I loved it because that was a whole different

979
00:50:57,320 --> 00:50:58,560
Speaker 5: style of dancy.

980
00:50:59,200 --> 00:51:01,520
Speaker 3: Yeah.

981
00:51:00,040 --> 00:51:04,680
Speaker 5: It's just so good because you get to really see

982
00:51:04,719 --> 00:51:08,200
Speaker 5: the difference in these groups of villains, which I love.

983
00:51:08,280 --> 00:51:12,080
Speaker 5: Like everyone's got their specific style of dance, which is

984
00:51:12,280 --> 00:51:13,000
Speaker 5: just awesome.

985
00:51:13,080 --> 00:51:14,920
Speaker 4: I mean it's like it was really.

986
00:51:16,920 --> 00:51:19,719
Speaker 3: I love Disney villains. My favorite Threwell at the Ville

987
00:51:19,719 --> 00:51:22,600
Speaker 3: and Captain Hook you know, and and so I got

988
00:51:22,600 --> 00:51:25,120
Speaker 3: to have Hook in three, and I got to have Crewell,

989
00:51:25,680 --> 00:51:29,040
Speaker 3: I got to have you know, Cameron and all of them,

990
00:51:29,640 --> 00:51:30,520
Speaker 3: China and McLain.

991
00:51:32,440 --> 00:51:35,160
Speaker 4: We haven't seen three. We haven't done Descendants three yet.

992
00:51:35,200 --> 00:51:37,360
Speaker 1: There we're going through.

993
00:51:37,160 --> 00:51:40,520
Speaker 3: That quickie for Gary marsh On. When we were doing

994
00:51:40,800 --> 00:51:43,160
Speaker 3: Descendants too, we were playing him a song and he goes, well,

995
00:51:43,160 --> 00:51:47,640
Speaker 3: it's no rotten to the core. That song really jumped up.

996
00:51:47,760 --> 00:51:49,240
Speaker 3: I mean yeah, I mean.

997
00:51:49,080 --> 00:51:50,879
Speaker 4: It's just in your face. It's so good.

998
00:51:51,080 --> 00:51:52,719
Speaker 3: So it became the song that we had to, like,

999
00:51:52,760 --> 00:51:55,600
Speaker 3: you know, come on, we gotta gotta live to Yeah,

1000
00:51:56,120 --> 00:51:58,080
Speaker 3: at least arrive at that something kind of.

1001
00:51:58,080 --> 00:51:59,040
Speaker 2: Place right right.

1002
00:51:59,239 --> 00:52:02,200
Speaker 1: Well, unfortunately, we're slowly wrapping up here, so we have

1003
00:52:02,200 --> 00:52:04,680
Speaker 1: a couple questions just to wrap it up so that

1004
00:52:04,760 --> 00:52:07,000
Speaker 1: we like to ask a number of people first of all,

1005
00:52:08,080 --> 00:52:09,440
Speaker 1: and some of them are going to be easy, some

1006
00:52:09,480 --> 00:52:10,680
Speaker 1: of them a little more difficult.

1007
00:52:10,760 --> 00:52:12,680
Speaker 3: Sure, So first of all, what.

1008
00:52:12,719 --> 00:52:15,320
Speaker 2: Is your favorite movie that you've ever directed?

1009
00:52:18,040 --> 00:52:21,680
Speaker 3: My favorite movie that I've ever directed is Newsies. It is,

1010
00:52:22,360 --> 00:52:24,800
Speaker 3: and not that I thought it was a great movie,

1011
00:52:24,880 --> 00:52:27,000
Speaker 3: because I felt like I could have done so much

1012
00:52:27,080 --> 00:52:30,640
Speaker 3: more had I had more time. I felt a little rushed,

1013
00:52:30,680 --> 00:52:33,400
Speaker 3: I felt a little penalized financially with it. You know,

1014
00:52:33,440 --> 00:52:36,040
Speaker 3: I just I didn't feel I had all that I

1015
00:52:36,120 --> 00:52:39,920
Speaker 3: wanted in order to like really arrive at a place.

1016
00:52:40,280 --> 00:52:43,279
Speaker 3: At its conclusion, I felt rushed. Shooting some of the

1017
00:52:43,360 --> 00:52:46,080
Speaker 3: musical numbers. We did King of New York and in

1018
00:52:46,440 --> 00:52:51,440
Speaker 3: one day, Wow, you know, and and the scene that

1019
00:52:51,600 --> 00:52:55,719
Speaker 3: was associated with it, and they had kicked it out.

1020
00:52:55,719 --> 00:52:57,920
Speaker 3: They said, we're not doing another musical number. You've run

1021
00:52:57,920 --> 00:53:00,239
Speaker 3: out of money. And the kids said, we'll all the

1022
00:53:00,320 --> 00:53:04,120
Speaker 3: kids said, we'll rehearse for free over the weekend. And

1023
00:53:04,640 --> 00:53:07,279
Speaker 3: I said, and I'll shoot it with the scene that

1024
00:53:07,320 --> 00:53:10,360
Speaker 3: we already are shooting in that day. I'll shoot the

1025
00:53:10,440 --> 00:53:14,200
Speaker 3: number within the time that you're allowing me. Wow. And

1026
00:53:14,239 --> 00:53:16,719
Speaker 3: they said, if you can do that, so so I.

1027
00:53:17,000 --> 00:53:22,440
Speaker 3: But but stepping away from Newsy's was I just felt championed.

1028
00:53:22,440 --> 00:53:25,560
Speaker 3: My father sat there and watched me direct a movie.

1029
00:53:26,120 --> 00:53:29,160
Speaker 3: You know, when I came I was born in a shack. Wow,

1030
00:53:29,200 --> 00:53:31,400
Speaker 3: you know I was you know, I was born in

1031
00:53:31,440 --> 00:53:35,160
Speaker 3: a shack in the backyard and my grandmother's house, and

1032
00:53:35,160 --> 00:53:37,400
Speaker 3: and you know, and came up the hard way, you know,

1033
00:53:37,600 --> 00:53:40,520
Speaker 3: really the hard way. We didn't ask what's for dinner?

1034
00:53:40,520 --> 00:53:43,480
Speaker 3: We asked is their dinner? So to be standing at

1035
00:53:43,520 --> 00:53:47,080
Speaker 3: the Walt Disney Company directing a movie with my father

1036
00:53:47,160 --> 00:53:51,280
Speaker 3: sitting in a director's chair. Those memories will always remain

1037
00:53:51,360 --> 00:53:54,640
Speaker 3: to be the most significant and most meaningful. You know,

1038
00:53:54,960 --> 00:53:56,439
Speaker 3: that's movie career.

1039
00:53:56,640 --> 00:53:58,600
Speaker 5: All of our listeners are going, how could you ever

1040
00:53:58,680 --> 00:54:01,400
Speaker 5: even right to top Newsy?

1041
00:54:02,000 --> 00:54:05,440
Speaker 4: How could it get better? It's just so good?

1042
00:54:06,280 --> 00:54:09,280
Speaker 1: And then we like to ask everybody, what's your favorite

1043
00:54:09,320 --> 00:54:10,279
Speaker 1: d com of all time?

1044
00:54:12,200 --> 00:54:13,560
Speaker 2: It doesn't one of yours.

1045
00:54:14,000 --> 00:54:15,239
Speaker 1: It does not have to be one of yours if

1046
00:54:15,239 --> 00:54:16,480
Speaker 1: you don't want it to be, which is gonna be

1047
00:54:16,480 --> 00:54:19,239
Speaker 1: tough to pick, but just your favorite d com of

1048
00:54:19,239 --> 00:54:19,680
Speaker 1: all time?

1049
00:54:21,400 --> 00:54:24,919
Speaker 3: It's not fair because I like a lot of them.

1050
00:54:24,960 --> 00:54:28,040
Speaker 2: Sure got to marry one though.

1051
00:54:29,760 --> 00:54:33,120
Speaker 4: I mean, so you ask.

1052
00:54:38,400 --> 00:54:41,520
Speaker 3: Cheater Girls one? Really cheater Girls one?

1053
00:54:42,200 --> 00:54:43,480
Speaker 4: Did you say cheatera girls one?

1054
00:54:45,520 --> 00:54:46,000
Speaker 3: You?

1055
00:54:46,200 --> 00:54:47,680
Speaker 2: Oh wow?

1056
00:54:48,040 --> 00:54:52,759
Speaker 3: That I loved saying ethnic women mm hmmm on television

1057
00:54:54,960 --> 00:54:59,600
Speaker 3: playing heroic roles. Yeah, that's great. And I was like, yeah,

1058
00:55:01,200 --> 00:55:04,880
Speaker 3: you know, diversity give those young women out there in

1059
00:55:04,920 --> 00:55:08,399
Speaker 3: the world someone to look up to and to give

1060
00:55:08,440 --> 00:55:10,799
Speaker 3: them a chance to, you know, to say, you know,

1061
00:55:10,880 --> 00:55:12,759
Speaker 3: I can dream it, I can be it, I can

1062
00:55:12,800 --> 00:55:17,879
Speaker 3: do it, you know. Raven shimone, Yeah, a star star. Yeah.

1063
00:55:17,920 --> 00:55:20,400
Speaker 3: For a lot of reasons. Oh yeah, I liked that.

1064
00:55:21,080 --> 00:55:25,360
Speaker 3: I was like, yeah, pushing the boundaries, pushing the boundaries.

1065
00:55:25,360 --> 00:55:27,400
Speaker 3: It was a lot of that wasn't happening. I still

1066
00:55:27,440 --> 00:55:30,239
Speaker 3: had to go into meetings. I mean it, even with

1067
00:55:30,320 --> 00:55:33,080
Speaker 3: high school musical, you know, I stowed to go into

1068
00:55:33,080 --> 00:55:36,000
Speaker 3: meetings for a long long time before I wasn't the

1069
00:55:36,120 --> 00:55:38,000
Speaker 3: voice in the room that said I want to do

1070
00:55:38,200 --> 00:55:39,520
Speaker 3: color blind casting.

1071
00:55:39,840 --> 00:55:40,960
Speaker 2: Yes, right, exactly.

1072
00:55:41,239 --> 00:55:44,600
Speaker 3: Yeah. And I think Cheeter Girls was before people were

1073
00:55:44,760 --> 00:55:50,000
Speaker 3: really being sort of righteously considerate of like, you know,

1074
00:55:50,080 --> 00:55:55,560
Speaker 3: being more integrated in how one can cast a show.

1075
00:55:55,800 --> 00:55:59,120
Speaker 5: It was the first that we were all of different

1076
00:55:59,160 --> 00:56:02,239
Speaker 5: ethnicities because people even though my character came off as

1077
00:56:02,280 --> 00:56:06,160
Speaker 5: the quote unquote white girl, I was I am half Hispanic.

1078
00:56:06,360 --> 00:56:09,560
Speaker 5: So the whole starring cast it was of different ethnicities

1079
00:56:09,600 --> 00:56:14,080
Speaker 5: that they didn't have, you know, y.

1080
00:56:15,800 --> 00:56:19,560
Speaker 3: Yeah, honestly, I thought, thought, thought, thought, thought, And there

1081
00:56:19,560 --> 00:56:23,400
Speaker 3: were a lot of really you know, the camp movies,

1082
00:56:23,480 --> 00:56:25,920
Speaker 3: and there were a lot of really fun things. And

1083
00:56:25,960 --> 00:56:28,520
Speaker 3: what Gary's doing with Descendants now and four and now

1084
00:56:28,560 --> 00:56:31,000
Speaker 3: coming up five, and I'm excited to see what they're

1085
00:56:31,040 --> 00:56:34,319
Speaker 3: doing there. You know, Cheeterah Girls, I thought broke new

1086
00:56:34,360 --> 00:56:37,839
Speaker 3: ground and and and opened up people's eyes and said,

1087
00:56:37,840 --> 00:56:40,120
Speaker 3: wait a minute, we're not thinking big enough. You know,

1088
00:56:40,160 --> 00:56:42,680
Speaker 3: there's a grander audience out there that deserve to have

1089
00:56:42,800 --> 00:56:47,160
Speaker 3: heroic characters on television. Yeah, so anyway, much.

1090
00:56:49,600 --> 00:56:52,040
Speaker 2: I have to ask to please go first? You go first.

1091
00:56:52,160 --> 00:56:58,120
Speaker 5: What do you think about the Zombies and Descendants Integrated Tour?

1092
00:56:58,320 --> 00:56:59,919
Speaker 4: Did you get a chance to check it out?

1093
00:57:00,000 --> 00:57:03,880
Speaker 3: I tried so hard. I tried so hard, and I

1094
00:57:04,000 --> 00:57:07,800
Speaker 3: was always in the wrong city. Okay, And I was invited,

1095
00:57:07,840 --> 00:57:09,560
Speaker 3: and I'm sure that if I had gone, I was

1096
00:57:09,600 --> 00:57:10,800
Speaker 3: even going to make an appearance.

1097
00:57:11,480 --> 00:57:12,759
Speaker 4: Does it take you back though?

1098
00:57:12,760 --> 00:57:14,719
Speaker 2: To bring in who directed.

1099
00:57:14,440 --> 00:57:15,720
Speaker 3: It said, if you come to one of the shows,

1100
00:57:15,719 --> 00:57:17,280
Speaker 3: I want you to come out and introduce the show.

1101
00:57:17,320 --> 00:57:18,600
Speaker 3: I said, oh my god, I would love to do.

1102
00:57:18,720 --> 00:57:19,640
Speaker 4: That would be awesome.

1103
00:57:20,320 --> 00:57:22,160
Speaker 3: I did not get to see it, but I've got

1104
00:57:22,200 --> 00:57:27,840
Speaker 3: tickets for so many if I got eight for my agent,

1105
00:57:27,920 --> 00:57:31,480
Speaker 3: my theater agent in New York, for his family, and

1106
00:57:31,560 --> 00:57:34,600
Speaker 3: I heard wonderful things and everything I saw online, the

1107
00:57:34,680 --> 00:57:35,720
Speaker 3: kids looking like they.

1108
00:57:35,600 --> 00:57:40,240
Speaker 5: Were oh yeah to me looking at everything, it reminded

1109
00:57:40,280 --> 00:57:43,360
Speaker 5: me of that the last time we had a huge

1110
00:57:43,400 --> 00:57:47,120
Speaker 5: touring era. The peak of it was what you did

1111
00:57:47,240 --> 00:57:50,640
Speaker 5: with Miley and the Jonas brothers, like that's what that

1112
00:57:50,720 --> 00:57:51,800
Speaker 5: tour reminded me of.

1113
00:57:51,840 --> 00:57:53,280
Speaker 3: It was that best of both worlds.

1114
00:57:53,360 --> 00:57:56,080
Speaker 5: Yeah, that's both worlds really with like all of the

1115
00:57:56,200 --> 00:58:00,440
Speaker 5: kids that were in it, the franchises that they represent, and.

1116
00:58:00,320 --> 00:58:04,760
Speaker 3: Yeah radio shitty musical. It's crazy. You don't think I

1117
00:58:04,800 --> 00:58:07,800
Speaker 3: wanted to be there, wrote the crypto, You know, I

1118
00:58:07,840 --> 00:58:12,200
Speaker 3: mean I wanted to be there to be there.

1119
00:58:11,160 --> 00:58:15,840
Speaker 2: Yeah, no, next time.

1120
00:58:16,680 --> 00:58:22,000
Speaker 1: But last question and asking for a friend. Okay, can

1121
00:58:22,040 --> 00:58:23,440
Speaker 1: anyone learn how to dance?

1122
00:58:24,600 --> 00:58:29,120
Speaker 3: No, that's what I figured. I used to think so,

1123
00:58:30,560 --> 00:58:35,120
Speaker 3: but not anymore. I think anyone can dance, okay, but

1124
00:58:35,280 --> 00:58:39,680
Speaker 3: not everyone can learn how to dance. Okay, because learning

1125
00:58:39,720 --> 00:58:42,840
Speaker 3: how to dance means the technique of dance. Right to me,

1126
00:58:43,000 --> 00:58:46,439
Speaker 3: everyone can and should dance. Look at Oh my God,

1127
00:58:46,560 --> 00:58:48,680
Speaker 3: one of my favorite movies, Napoleon Dynamo.

1128
00:58:48,840 --> 00:58:50,400
Speaker 5: Yeah, great.

1129
00:58:54,560 --> 00:58:56,840
Speaker 2: Dance scenes ever, one of.

1130
00:58:56,760 --> 00:59:00,520
Speaker 3: My favorite dance sequences ever in the history of emotional

1131
00:59:00,560 --> 00:59:08,800
Speaker 3: pressures exactly. So anyone can dance, but no, there's technique

1132
00:59:08,800 --> 00:59:11,720
Speaker 3: in dance, in the learning of dance. And I learned

1133
00:59:11,760 --> 00:59:13,840
Speaker 3: that the hard way when I used to think anyone

1134
00:59:13,880 --> 00:59:15,760
Speaker 3: could dance, and then I got asked to work with

1135
00:59:15,800 --> 00:59:19,160
Speaker 3: an artist and after two weeks. I went home and

1136
00:59:19,160 --> 00:59:26,280
Speaker 3: I said, it's not true. We won't ask rhythmic.

1137
00:59:29,480 --> 00:59:32,560
Speaker 5: It's not just the technique too, it's the memory aspect

1138
00:59:32,640 --> 00:59:36,680
Speaker 5: of learning dance moves that people really underestimate how hard

1139
00:59:36,760 --> 00:59:37,320
Speaker 5: it is.

1140
00:59:37,800 --> 00:59:40,000
Speaker 3: I think maybe, I think maybe if you go through

1141
00:59:40,040 --> 00:59:42,080
Speaker 3: therapy and you can get rid of all of the

1142
00:59:42,160 --> 00:59:46,320
Speaker 3: sort of you know, fears and stuff, that get that.

1143
00:59:46,360 --> 00:59:48,400
Speaker 3: But if you don't, if those are there, and you know,

1144
00:59:48,720 --> 00:59:51,880
Speaker 3: choreographers don't necessarily know how to like move someone out

1145
00:59:51,880 --> 00:59:54,360
Speaker 3: of that fear. We can do our best to build

1146
00:59:54,400 --> 00:59:58,480
Speaker 3: someone's confidence into help in encouraging them, right, But if

1147
00:59:58,920 --> 01:00:01,600
Speaker 3: you come into the situation Matthew Broderick was a nervous wreck.

1148
01:00:01,640 --> 01:00:04,520
Speaker 3: When we did Paris Builders, I was able to relax again.

1149
01:00:04,640 --> 01:00:09,200
Speaker 2: Yeah, it was great that what what you know?

1150
01:00:10,440 --> 01:00:12,320
Speaker 3: We were sitting on the floor in a in a

1151
01:00:12,360 --> 01:00:15,120
Speaker 3: hotel ballroom in Chicago, getting ready to make the movie,

1152
01:00:15,160 --> 01:00:17,440
Speaker 3: and and he was in his sweats and and we

1153
01:00:17,440 --> 01:00:21,280
Speaker 3: were stretching. We're just stretching and and uh. And from

1154
01:00:21,280 --> 01:00:23,080
Speaker 3: that first moment where the two of us were just

1155
01:00:23,120 --> 01:00:25,000
Speaker 3: there stretching, I said, I'm going to get this guy there.

1156
01:00:25,800 --> 01:00:27,520
Speaker 3: He never done it.

1157
01:00:27,880 --> 01:00:31,640
Speaker 2: What a scene iconic. Yes, well, thank you so much.

1158
01:00:34,160 --> 01:00:36,280
Speaker 2: We look forward to the next fifty two episodes we

1159
01:00:36,320 --> 01:00:37,000
Speaker 2: do together.

1160
01:00:36,800 --> 01:00:37,760
Speaker 3: Because so much fun.

1161
01:00:37,840 --> 01:00:40,840
Speaker 6: This was really fun, stretched the surface.

1162
01:00:41,400 --> 01:00:44,040
Speaker 3: It's wonderful to see you both, that you were here.

1163
01:00:44,120 --> 01:00:44,959
Speaker 2: Thank you so much.